Sometimes you just need to burst into song to express how you feel – or at least that is the belief that guided the creation of the entire musical genre, which was at the time one of the most profitable and exciting forms of filmmaking (and still proves to be exceptionally popular on stage, although there is an argument to be made that the modern state of theatre is starting to shown very concerning signs, especially in the mainstream), captivating audiences and drawing us into stories of ordinary people living more enchanted lives, music being used as their means to filter through complex and celebratory emotions. There is nothing quite as entertaining as an unexpected musical, which is where we find Leave One Day (French: Partir un jour), a very surprising film that may not always be consistent, but has a charm that compensates for any narrative shortcomings. It follows Cécile, a very popular chef who has made a name for herself as an iconoclast in the world of haute cuisine. However, her steadily rising career has to be momentarily paused when she is forced to return to the small village in which she grew up after her father – who owns a small tavern where she learned to cook years ago – has a heart attack and needs assistance. While in town, Cécile runs into various people from her past, each one reminding her of her formative years, in particular Raphaël, an old friend who is rough around the edges but certainly charming enough to draw her attention, leading her to wonder why she actually left in the first place. Leave One Day is the feature directorial debut of Amélie Bonnin, who had previously made a short film that contains many of the same ideas, and which was a small but notable success, enough to inspire confidence in the producers that ultimately led to the full-length version of her story. The film is a wonderfully charming, effortlessly effective comedy that is as delightfully endearing as it is heartfelt, which is ultimately more than enough to keep us entirely invested in this terrific confection of a film that may not have much nutritional value, but is certainly delicious in its own way.

For those who grew up in small towns and found themselves seeking better opportunities elsewhere, there is a complexity that comes with the act of homecoming, something that those who were raised in bustling cities or more affluent areas can never entirely understand. Leave One Day is an effective film primarily for how it carefully and methodically explores a young woman’s brief but unforgettable return to the pastoral village where she spent her youth, which she is now seeing with more jaded adult eyes, while also recognising new aspects that she had missed when this place was part of her everyday routine. We remember the places and people, but the moment they’re committed to memory, they take on a very specific form, one that can sometimes be misleading, eventually causing us to slowly lose our grasp on things as they are, making the experience of returning home more intimidating than it needs to be, especially when someone is in a very different place to where they were before, both physically and psychologically, The director is committed to bringing all of these ideas together, which she forms through a two-pronged approach to the story – the first positions Leave One Day as a quirky small-town comedy about someone re-integrating into the community and trying to navigate the local colour that surrounds her. The second is the romantic plot, which shows the protagonist becoming reacquainted with a young man who grew up with her, where they had drifted apart and become near-strangers, but are suddenly placed in such proximity to one another that they simply cannot help falling in love. There is always something so fascinating about rediscovering someone who you thought had been left in the past, but who unexpectedly re-enters your life when it is least expected, rekindling dormant feelings and actually building on them in unexpected and interesting ways.

Leave One Day is a film that was keenly aware of the need to have actors who could easily play these characters, not only in the sense of making them seem like real, authentic human beings, but also being able to tap into the more absurd elements of the story, since the entire film takes place in a version of reality that is most recognisable, but where logic is suspended in various parts, much like the happy-go-lucky romantic comedies that Bonnin used as the blueprint for this delightfully quirky character study. The film is the acting debut of Juliette Armanet, who was previously known only as a musician – and while it is always a gamble to choose someone with very little acting experience, there’s a roughness to her style that makes sense in the context of the film. Cécile is an enigmatic woman, particularly since she is caught between the past and present, trying her best to look forward, but constantly being drawn to recall certain memories, some more uncomfortable than others. The entire film is a wonderful showcase for her, and she does exceptionally well, to the point where many may be surprised to find out she has never previously acted, since everything about this performance feels so wholeheartedly authentic. Conversely, we have Bastien Bouillon, who seems to have not ceased working for several years, being one of the most prolific actors in France at the moment. As Raphaël, he is very charming (although I will admit that the film’s decision to position him as some irresistible heartthrob did not quite work particularly well), and plays into the many complex nuances of this character. The supporting cast consists of the always wonderful François Rollin and Dominique Blanc as the protagonist’s parents, and while they’re mostly there for plot reasons and comedic relief, there’s a tenderness to their performance that feels very effective, each of them having a handful of special moments that allow Leave One Day to contain one of the most endearing ensembles of the past year.

For some reason, the film industry has decided that the best way to market a musical is to hide every trace of it, a peculiar decision that underlines the belief that audiences are incredulous to the genre. This is a shame, since there are some terrific examples of the genre being done well, and this is one of the most apparent. There’s something so wonderfully compelling about a film that knows how to suspend logic enough to draw us in, while also keeping everything grounded, which is a rare feat and one that this film accomplishes brilliantly. The musical numbers emerge naturally, being drawn from the most authentic emotional centres rather than being artificially inserted for superficial reasons. It’s a jukebox musical, so the director makes use of many famous songs, which are reinterpreted to have intriguing plot significance without making the entire film feel like an excuse to move from one song to another, which prevents the story from just being an attempt at nostalgia. Bonning also avoids turning every performance into anything too theatrical – the focus is on natural implementation of these songs into the lives of these characters, where the boundaries between dialogue and song are much more narrow than they would be in a more elaborate piece, with many intimate and meaningful moments emerging, especially in how the everyday locations and situations are used as the foundation. The warm filmmaking, with simple but effective cinematography and editing, makes the film seem so much more engaging, and the brisk pace allows everything to keep moving without ever overstaying its welcome. Coupled with some very witty dialogue and a lot of genuine emotional resonance (which can sometimes veer towards the heavy-handed, but this film never claimed to do anything otherwise), Leave One Day is a far more interesting piece than many may have expected at the start. It’s a masterful work of restraint in a genre that is often reviled, proving that there is always something valuable to be said about a director willing to take a risk, especially in choosing to create something that explores recognisable human experiences.

Leave One Day isall very conventional, and the story is about as deep as a puddle, but it makes for an enormously satisfying viewing experience because of the sincerity and heartfulness that anchors this film and makes it so much more than just a bundle of familiar conventions. It may not always be original (the influence of decades of both musicals and romantic comedies is evident throughout this film), but it succeeds in compensating for that through strong, meaningful execution and genuine emotional relevance that helps us forgive the lack of narrative innovation. The greatest achievement of this film is its ability to remind audiences about why musicals are such an effective form of storytelling, since they communicate strong emotions in a very unique, meaningful way, which ordinary dialogue sometimes struggles to do. Considering it is her first film, we have to praise Bonnin for her confidence and clarity of vision – she demonstrates a strong understanding of tone, performance and emotional rhythm, taking a simple story and turning it into something quite special. It may not be the very definition of thematic complexity, but it does leave viewers in a state of pure bliss, never redefining the genre but rather riffing on its most common elements and proving that there is still plenty of life in a genre that can sometimes be dismissed unnecessarily. The film is handled with affection, charm and genuine humanity, which is more than enough to keep us invested. Much like the comforting meals prepared by Cécile throughout the film, Leave One Day is neither extravagant nor revolutionary, but it is made with such warmth and care that it becomes difficult not to savour every last moment, making it a true delight and an absolute gem that delights much more than it provokes.