Le Mouv’ (4/28/2015) “A “mise en abîme” that hits the spot.” Augustin Arrivé
Theatrorama (4/18/2015) “elle démontre avec brio que, parfois, le tour de force repose très précisément sur des détours de force” Cathia Engelbach
The Guardian (11/9/2010) “The discourse being fragmented, deformed and mangled in a marvellous satire of today’s infra-language.” Fabienne Darge
Liberation (10/30/2010) “P.M, F.H and B.A are not troublemakers but they know how to sow the seeds of doubt. The result isn’t any less devastating.” RENE SOLIS
Telerama (10/27/2010) “logic to the extreme” E.B.
Le Point (10/25/2010) “it’s fantastic and so clever, you’ll walk out smiling” Marie Audran
Rue 89 (10/22/2010) ” these players have been peerless in their capacity to grasp and travel through their era, to grab it by the scruff of its banality, polish the mirror of its tautologies.” Jean-Pierre Thibaudat
Theatre Contemporain (10/1/2010) Playing with description and fiction Interview by Chabot
Ouest France (7/31/2010) Fancy duds everywhere in town this weekend
Objectif Cinema (5/8/2010) “With (faux) naïveté, malice and finesse, Bettina Atala’s film questions language” Nicolas Villodre
Mouvement (12/15/2009) “fiction met reality, with no possible return back” Magali Lesauvage
La Marseillaise, La Provence… (10/20/2009) “Funny, poetic and tender.” D.B
La Provence, La Marseillaise… (10/19/2009) “It’s as if 2be3, coached by les Deschiens, had decided to bring Deleuze to the stage. Or not.” D.B.

“dissections – often hilarious – of different processes of communication”Denis Bonneville

“Grand Magasin are here to reinvent the meaning of the objects that surround us”Guillaume Arias
Paris Art (10/15/2009) “The duo, now a trio, takes humor very seriously.” Nicolas Villodre
Les Inrockuptibles (7/7/2009) “The effect is guaranteed hilarity” Hugues Le Tanneur
Telerama (5/3/2008) “Unless it’s not your style of humor, you’ll very quickly be smiling out of delightful disbelief.” Cathy Blisson
Inrockuptibles (3/11/2008) “An obvious taste for deconstruction and parodic irony,
which are particularly efficient here.”
Hugues le Tanneur
Cahier du Cinema (9/15/2007) “A mockery of cinematic conventions”Ch.G

“A feminist use of split-screen”Ch.G
New York Times (11/13/2005) “Grand Magasin deconstructing L’Office. The banality of cubicle life, viewed in a french movie.” Roslyn Sulkas
Liberation (7/1/2005) “All of this, performed by the three actors who, in this unreal camping ground, look like amateur sociologists.” BRUNO MASI
Liberation (2/19/2005) “Actions are taken to their logical conclusion that borders at times on the absurd, at times on the comical.” Hervé Gauville
Télérama (2/16/2005) “At any rate, a Grand Magasin show isn’t something that’s told,
but rather savored.”
Cathy Blisson and Florence Broizat
Instructions (1/21/2005) “A catalogue of reflections, programmatic gestures and actions which defy the spatiotemporel conditions of the stage.” Guillaume Désanges
La République du Centre (1/19/2005) “at once inventive, funny and remarkable.” Claire Damon
La Marseillaise (10/14/2004) “the show is like a conference of French professors whose insanity is linked to philology” Francis Cossu
La Provence (10/9/2004) “Minimalist DIY” Jacques Corot
Le Figaro (9/12/2003) “A style, more than just mechanics – a mind.” ArmeIIe HELIOT
Liberation (3/7/2003) “Trio’s new rhetorical tour de force in Paris” Hervé Gauville
Libération (12/8/2002) “A delight at 1000 miles an hour” Marie-Christine Vernay
Le Devoir (5/23/2002) “The show looks for the most sublime aspect of everyday life.” David Cantin

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