Jean-Louis Joubert
Fabrice Luchini
Jean-Louis Joubert
Overview
Paris, in the early 1960s. Jean-Louis Joubert is a serious but uptight stockbroker, married to Suzanne, a starchy class-conscious woman and father of two arrogant teenage boys, currently in a boarding school. The affluent man lives a steady yet boring life. At least until, due to fortuitous circumstances, Maria, the charming new maid at the service of Jean-Louis' family, makes him discover the servants' quarter on the sixth floor of the luxury building he owns and lives in. There live a crowd of lively Spanish maids who will help Jean-Louis to open to a new civilization and a new approach of life. In their company - and more precisely in the company of beautiful Maria - Jean-Louis will gradually become another man, a better man.
Trailer
Les Femmes Du 6eme Etage-Bande Annonce VF HD
Cast
Suzanne Joubert
Sandrine Kiberlain
Suzanne Joubert
Maria
Natalia Verbeke
Maria
Concepcion
Carmen Maura
Concepcion
Carmen
Lola Dueñas
Carmen
Dolores
Berta Ojea
Dolores
Pilar
Concha Galán
Pilar
Colette de Bergeret
Marie-Armelle Deguy
Colette de Bergeret
Nicole de Grandcourt
Muriel Solvay
Nicole de Grandcourt
Bettina de Brossolette
Audrey Fleurot
Bettina de Brossolette
Mme Triboulet
Annie Mercier
Mme Triboulet
Germaine Bronech
Michèle Gleizer
Germaine Bronech
Reviews
✦ AI-generated review
The Lonely God in the Age of Noise
To inherit the TARDIS is to inherit a legacy of paradoxes, not just of time travel, but of television history. When Jodie Whittaker stepped into the role of the Thirteenth Doctor—the first woman to pilot the police box in over half a century—the cultural conversation immediately flattened into a binary of gender politics. Yet, looking back at her tenure, particularly the chaotic, serialized experiment of "Flux," the true struggle of this era wasn’t about gender. It was about silence. Or rather, the lack of it. Under showrunner Chris Chibnall, *Doctor Who* transformed from a show about a lonely god witnessing the universe's quiet tragedies into a breathless, exposition-heavy sprint that often forgot to let its characters breathe.
Visually, the Chibnall era, and specifically the chapter featuring John Bishop as Dan Lewis and Mandip Gill as Yaz, creates a landscape of overwhelming density. The cinematography abandoned the fairy-tale whimsy of the Moffat years for a flatter, high-definition realism that sometimes felt at odds with the show’s operatic soul. In "Flux," the screen is frequently crowded—swirling CGI vortexes, disintegrating galaxies, and Sontaran fleets occupy every inch of negative space. It is a visual suffocation that mirrors the narrative’s pace. There is a frantic energy to the direction, a sense that if the camera stops moving, the audience might realize the plot is eating itself. The beauty of *Doctor Who* has often lived in its juxtaposition of the mundane and the cosmic—a plastic shop dummy coming to life, a statue weeping. Here, the mundane is often lost in a wash of spectacle that dazzles the eye but risks numbing the spirit.
At the center of this storm stands Whittaker, a performer of immense capability who makes the brave choice to play the Doctor not as a brooding authority figure, but as a frenetic, socially anxious tinkerer. Her Doctor is less a "Oncoming Storm" and more a traveler perpetually running away from herself. The tragedy of her era is that the scripts rarely allowed her the stillness to explore that internal flight. In scenes with Yaz (Gill) and Dan (Bishop), we see glimmers of a profound loneliness masked by manic chatter. Bishop, playing the everyman with a grounded scouse wit, anchors the team, providing a necessary human counterweight to the sci-fi gibberish. But the emotional arc often feels truncated; the "fam" is told they are close, rather than shown through the quiet intimacy that defined previous TARDIS teams.
Ultimately, this era of *Doctor Who* serves as a fascinating mirror to our modern information age—chaotic, loud, and terrified of silence. It attempts to rewrite the show's foundational mythology (the controversial "Timeless Child" arc) in a bid for significance, yet often misses the small, human moments that actually make the show immortal. Whittaker’s Doctor was a beacon of hope who deserved a quieter universe, one where her two hearts could be heard beating above the noise of the plot. As an entry in the fifty-year canon, it stands as a testament to the difficulty of modernizing a myth: sometimes, in trying to expand the lore, you shrink the mystery.
To inherit the TARDIS is to inherit a legacy of paradoxes, not just of time travel, but of television history. When Jodie Whittaker stepped into the role of the Thirteenth Doctor—the first woman to pilot the police box in over half a century—the cultural conversation immediately flattened into a binary of gender politics. Yet, looking back at her tenure, particularly the chaotic, serialized experiment of "Flux," the true struggle of this era wasn’t about gender. It was about silence. Or rather, the lack of it. Under showrunner Chris Chibnall, *Doctor Who* transformed from a show about a lonely god witnessing the universe's quiet tragedies into a breathless, exposition-heavy sprint that often forgot to let its characters breathe.
Visually, the Chibnall era, and specifically the chapter featuring John Bishop as Dan Lewis and Mandip Gill as Yaz, creates a landscape of overwhelming density. The cinematography abandoned the fairy-tale whimsy of the Moffat years for a flatter, high-definition realism that sometimes felt at odds with the show’s operatic soul. In "Flux," the screen is frequently crowded—swirling CGI vortexes, disintegrating galaxies, and Sontaran fleets occupy every inch of negative space. It is a visual suffocation that mirrors the narrative’s pace. There is a frantic energy to the direction, a sense that if the camera stops moving, the audience might realize the plot is eating itself. The beauty of *Doctor Who* has often lived in its juxtaposition of the mundane and the cosmic—a plastic shop dummy coming to life, a statue weeping. Here, the mundane is often lost in a wash of spectacle that dazzles the eye but risks numbing the spirit.
At the center of this storm stands Whittaker, a performer of immense capability who makes the brave choice to play the Doctor not as a brooding authority figure, but as a frenetic, socially anxious tinkerer. Her Doctor is less a "Oncoming Storm" and more a traveler perpetually running away from herself. The tragedy of her era is that the scripts rarely allowed her the stillness to explore that internal flight. In scenes with Yaz (Gill) and Dan (Bishop), we see glimmers of a profound loneliness masked by manic chatter. Bishop, playing the everyman with a grounded scouse wit, anchors the team, providing a necessary human counterweight to the sci-fi gibberish. But the emotional arc often feels truncated; the "fam" is told they are close, rather than shown through the quiet intimacy that defined previous TARDIS teams.
Ultimately, this era of *Doctor Who* serves as a fascinating mirror to our modern information age—chaotic, loud, and terrified of silence. It attempts to rewrite the show's foundational mythology (the controversial "Timeless Child" arc) in a bid for significance, yet often misses the small, human moments that actually make the show immortal. Whittaker’s Doctor was a beacon of hope who deserved a quieter universe, one where her two hearts could be heard beating above the noise of the plot. As an entry in the fifty-year canon, it stands as a testament to the difficulty of modernizing a myth: sometimes, in trying to expand the lore, you shrink the mystery.