In another time, not so far away, when shots of instant joy and bonhomie such as ‘The Bélier Family’ or ‘My Afternoons with Margueritte’ questioned the Hollywood dictatorship by perfecting the formula of consumer humanism, any analyst would have bet that the strange couple formed by the protagonists of ‘Beautiful Minds’ would sneak into the best entries of the week at the box office because Bernard Campan’s latest feature film brings together all the ingredients of success: two opposite characters united by an extraordinary chemistry, a small dose of humor black, inclusivity, philosophical dissertations on the meaning of life and episodes of light comedy packaged in the format of road movies. As a product, which it is, ‘Beautiful Minds’ is unbeatable, although the spectacular nature is not in its images but rather in the thread that finalizes the script written by Campan and his co-star, the writer and philosopher Alexandre Jollien, when it comes to hide the friendship that unites them in real life. Jollien knows what he is talking about – he spent 17 years in a specialized institution for people with physical disabilities – although the authority with which he expresses himself may seem simple or simplifying for those who wince when presented with guides to happiness in the form of self help manual.