C.he what unites a refined Parisian tailor and a sparkling one drag queen? He reveals it to us Queen Lorettathe new Netflix series by Lukasz Kosmicki four episodes in all. Sylvestre Bork (the very good Andrzej Sewerynalready seen in Schindler’s List) is a famous couturier about to go in pension: a golden retreat on the Côte d’Azur for an elderly and impeccable gentleman who lived in adiscreet opulencefruit of a life’s work.
Esteemed by all thanks to his aristocratic and measured style, Sylvestre is horrified at the idea of giving up his historic tailoring to an investor who wants to buy the shop and exhibit his models on the Internet. Be wary of any generalization, it is a genius of custom-made and does not believe in prefabricated sizes but rather in the uniqueness of the details: “We are all a bit asymmetrical, you know? The dress is a true art, theart of illusion. “
It happens, however, that Sylvestre receives a mysterious one pink envelope from the Polandwhich upsets his aperitif based on Armagnac and 70s dance music. But does not dare to open it.
Queen Loretta: the last show… Or maybe not
Sylvestre Bork is a multifunctional man: in addition to managing his business, he works as a tailor in a theater specialized in shows from drag queen, among sequins, sequins, ostrich feathers and iridescent fabrics. Not only that: himself, homosexual high-bourgeois apparently mainstreamit’s a famous drag queen whose daily identity only the closest friends know: Queen Loretta, or, simply, Loretta.
L’friend choreographer Corentin (Kova Réa), himself bewitching performer en travestipresents the last appearance on stage to the cry of Laissez Moi Dancer from Dalida: blonde wig, red dress e a cascade of sequins.
A call for help
Meanwhile Sylvestre has open envelope rose: inside there is a letter from the nephew Iza (Julia Chetnicka), who begs her grandfather – discovered through the Internet thanks to the name of the prestigious tailor’s shop – to help her mother Wiola (Maria Peszek) which urgently needs a kidney transplant. Sylvestre, whose real surname is Borkonski, is unaware of his niece’s existence and has never seen his daughter, who has abandoned before birthdecades earlier, to make a fortune in Paris.
After more than a hesitation (“Honestly What do you have to lose, except a kidney? », Corentin asks him. “Myself»Replies Sylvestre dryly), the couturier accept to help his new and unknown family.
Good humor prevails between comedy and drama
The first two episodes of Queen Loretta I am a colored bon bon, an iridescent boule not without clichés but with perfect packaging. Once you get in Poland Sylvestre, task and very elegant, has to deal – without pleating – with the poverty of a small town of the Silesia inhabited almost exclusively by miners on the verge of being fired. But above all with one family decidedly dysfunctional.
First of all the niece Izadisarming and sunny like a Pixar character, which in turn hides a little secret due to which it is impossible for her to donate the kidney to her mother. And then the daughter Wiolaterminally ill, furious with the absent father of whose arrival he obviously knows nothing.
Although the situation turns to drama the story is played on a light registerin which music And color create an atmosphere of comedy at times surreal in which no detail is left to chance. Like the wine-colored Mercedes taxi with furry carpet and no headrest. Dramatic scenes that always have something hilarious, like Sylvestre giving the kidney to her recalcitrant daughter or collision between stretchers in the hospital by the effective but hasty staff. Sylvestre preparing the quiche Lorraine for the granddaughter circling the kitchen in a floral dressing gown, or the difficult moment in which unveils your own identity in Wiola, apparently homophobic. An important revelation, so important as to cause a earthquake.
Unexpected alliances between miners and drag queens
We tell you nothing more, except that the starting point seismic it is anything but coincidental (only in April 2022 there were already 11 deaths from accidents in the mines of coal of Silesia, ed). That there will be one show in which miners And drag queenthe archetypal ones of manhood and the others of beauty, extravagance and geniuswill unite for a common cause, in which no one is the same And all are unique. In which the social, generational and gender traumas, already sutured by the generosity of Sylvestre and the drag queens, are solved in a happy ending deliberately predictable which leaves a balmy feeling of freedom.
No excess for this story of redemption which tells of a tailor who sews his own destiny (in life and in the theater) and customizes life with sobriety And pride. Learning to know himself and to accept othersespecially the family biological: that which he did not choose but which, with sublime unpredictability, he chose he she.
iO Donna © REPRODUCTION RESERVED