Set in the early 80s, Les Grande Claques is a slice-of-life holiday melodrama that effortlessly transports its viewer back to their retro roots. It crafts a mise en scène that just oozes deja vu; managing to wrap even viewers who never experienced the time period in the comforting familiarity of a cozy, worn out blanket. You can almost smell the stale cigarette smoke; and it’s that certain je ne sais quoi that tugs at the heartstrings throughout.
The film begins from the vantage point of a child, more specifically, an adorable young girl named Julie (Lilou Roy-Lanouette). With long, brown hair and thick, round glasses, Julie is physically reminiscent of a young Abigail Breslin in her Little Miss Sunshine era. Julie is gathered in a small bathroom with several other children, giggling and horsing around, and we quickly recognize the setting of this short film to be a modest holiday get-together. The children are excitedly awaiting a visit from Santa, while the adults are laughing, socializing, and getting tipsy.
What transpires from there is a touching story about the bond between a father and his daughter, as well as the complex relationship between exes and co-parents. Running the gamut from comedy to drama, it’s a veritable game of ping pong for the emotions. But it’s one that leaves you with a content smile when all is said and done.
Filmmaker Annie St-Pierre creates a gritty, moodier take on the oh-so ubiquitous “Christmas miracle” trope — one which isn’t so much It’s a Wonderful Life, but closer to the complex emotional dynamics experienced by families around the world. The camera work is messy, but it’s fitting as a reflection of the sloppiness of the occasion. At its core, Les Grande Claques serves as a metaphor for the imperfect way life sometimes provides its smallest but most meaningful gifts.