Abstract: Reconstructing the second part of Illusions perdues: Un grand homme de province à Paris with period costumes exposed Xavier Giannoli to the suspicion of academicism. But the meticulous attention to detail in the sets and dialogues, the direction of the actors, and the frantic rhythm create an almost fantastic vision: Lucien’s wild-eyed gaze in the face of a reality so different from his illusions offers a “human comedy” in its striking actuality, completely protecting the film from academicism.
