A sulky young pianist is talent-spotted at a
Paris station in this dull drama that is enlivened by Kristin Scott Thomas and the charismatic Karidja Touré
What is it about the classical
music world – populated mostly by people with sophisticated tastes and exacting standards – that so often inspires film-makers to make sentimental, middlebrow schlock? Does it spring from some patronising if well-intentioned desire to make high art available to consumers of lower-browed forms, such as cinema? Or is that too many movies about classical music are made by people who barely understand the milieu, the music, or institutions that nourish them?