Directed by Noémie Saglio and co-written with Agathe Pastorino, Telle mère, telle fille is a French comedy starring Juliette Binoche and Camille Cottin, released in theaters on March 29, 2017. The film depicts a close-knit and dysfunctional mother-daughter duo, caught off guard by an unexpected double pregnancy. This "rigorous-tearful" comedy, as described by its director, will now be added to the Prime Video catalog on December 1, 2025.
Inseparable, Avril and her mother Mado couldn't be more different. At 30, Avril is married, employed, organized, and well-established in a structured life. Mado, on the other hand, remains an eternal teenager, carefree and precocious, who has been living off her daughter since her divorce. When both women find themselves pregnant at the same time and living under the same roof, their daily lives are turned upside down. The film follows the tensions, awkward moments, and bursts of tenderness that arise from this forced cohabitation, as each woman tries to find her place.
Between a mother who refuses to become a grandmother and a daughter who struggles to imagine her mother becoming a mother again, pregnancy acts as a revelation. Emotional issues, generational conflicts, and reversed roles fuel a series of comical and moving situations, without revealing the outcome of this dual journey. Like Mother, Like Daughter is as interested in the physical upheavals as it is in the intimate questioning caused by the arrival of a child in an already "apocalyptically" symbiotic relationship.
The idea for the film came from a story Noémie Saglio read in a women's weekly magazine, in which a reader recounted becoming pregnant at the same time as her mother. With Agathe Pastorino, the director discovered that these situations of mothers and daughters becoming pregnant at the same time are far from isolated, particularly in working-class British communities. The script draws inspiration from this reality to create a contemporary comedy that plays on the reversal of roles and social pressure surrounding motherhood.
Camille Cottin was attracted to the project because of its direct connection to the spirit of the times, through these "quadrados" or "quinquados" who are reclaiming their youth after raising their children. Juliette Binoche, for her part, accepted the role of Mado, attracted by the opportunity to explore a very French comic register and a character of a delayed teenager, far from her usual dramatic compositions. Lambert Wilson joins the cast as Avril's father, imagined as a Hugh Grant-like figure, elegant and whimsical, here transformed into an orchestra conductor.
The staging is based on a comedy of situations and characters, oscillating between humor and emotion. Noémie Saglio describes it as a "rigo-chiale" comedy, combining a mother-daughter buddy movie with a remarriage comedy. Avril's job as a "nose" for a brand of household products allows her to play with the effects of pregnancy on the senses, while the soundtrack by Mathieu Chédid, featuring a cover of Charles Trenet's Boum, reinforces the film's light tone. The result is aimed at a wide audience, sensitive to contemporary family stories and generational comedies in the vein of Tout ce qui brille or Connasse, Princesse des cœurs.
A few months after Le Petit Locataire, which already took a humorous look at late pregnancy, this film continues the reflection on age, the desire for freedom, and the place of women in society. By playing on the contrast between a carefree mother and an ultra-responsible daughter, it holds up a mirror to certain families today, where parental and filial roles are redistributed as life events unfold.
Like Mother, Like Daughter
Film | 2017
Theatrical release: March 29, 2017
On Prime Video December 1, 2025
Comedy | Running time: 1 hour 34 minutes
By Noémie Saglio | Starring Juliette Binoche, Camille Cottin, Lambert Wilson
Nationality: France
Revisiting the mother-daughter bond through the prism of twin pregnancies, Like Mother, Like Daughter offers a contemporary comedy about maturity, emotional dependence, and the need to redefine oneself. The dynamic between Juliette Binoche and Camille Cottin, supported by a script that combines conflict and tenderness, anchors the film in a register that is both popular and intimate.
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