[2] The film also evokes the nymphomania and the mythomania of her mother, Lola (Marie-France Pisier), the abuse inflicted by her father, Dominique (Pascal Greggory), the identification with her sister, Billy (Hélène de Fougerolles) and the narcissism of her spouse, Alex (Yannick Soulier).

[3] The title was to be Resilience, in reference to the concept of" Boris Cyrulnik,[4] which evokes the reversal of the director's responsibilities, and the question of cognitive diversion, the consequence of a "long-awaited pardon, if happens, is not the one expected".

Her aunt, Marie-France Pisier, who plays the heroine's mother,[8] describes the filming as "absolute madness", aggressiveness "distilling an impression of terrible danger", Maïwenn unable to put it "in the exact place of his fantasy" but declares not to have feared "the slaps", because as in love, "desire is never humiliating".

[9] The magazine ELLE, describes the film as "neurotic and fictional psychodrama", Le Parisien, speaks of appropriation, Les Inrockuptibles of self-indulgence, pure and hard narcissism, egotism, half smart, half charmer, who wants to make “a documentary, especially not a fiction”, anticipating the “trial that we will not fail to bring against her”, Liberation, of voyeurism, Le Monde, of the troubled delight of autofiction, a technique with which "Ingmar Bergman, who has only ever filmed his intimate life, escapes pathetic infamy" and whose rise is "concomitant with that of reality TV",[10] Première, of film-happening unburdened by any varnish, holding investigation, spitting, mourning work and raised fist, Rolling Stone, of staggering family therapy of psychological violence and Télérama, of fragile, excessive and rough film, brutally sincere.

[11] In her book Gendered Frames, Embodied Cameras: Varda, Akerman, Cabrera, Calle, and Maïwenn (2016) Cybelle H. McFadden, of the University of North Carolina, explains that the "fake" fills the lack of reality through representation, creating a simulacrum, a copy without the original, in the manner of Jean Baudrillard and Sophie Calle., anticipating the criticisms, and allowing the director to anticipate the "false interview" of Paul, former lover of her mother and father of her half-sister, who serves as an opportunity to reconnect with their family.