Serial (Bad) Weddings
The Verneuils are a well-off, well-educated, well-intentioned, and well-thought-of Catholic couple. Everything would be perfect if three of their four daughters had not married young men of different nationalities and religions. So the day their fourth daughter tells them that she is marrying a Catholic fellow, they are on cloud nine.
Despite its small-scale budget of $13.0M, Serial (Bad) Weddings became a runaway success, earning $176.4M worldwide—a remarkable 1257% return. The film's innovative storytelling attracted moviegoers, proving that strong storytelling can transcend budget limitations.
Plot Structure
Story beats plotted across runtime
Narrative Arc
Emotional journey through the story's key moments
Story Circle
Blueprint 15-beat structure
Arcplot Score Breakdown
Weighted: Precision (70%) + Arc (15%) + Theme (15%)
Serial (Bad) Weddings (2014) exemplifies deliberately positioned narrative design, characteristic of Philippe de Chauveron's storytelling approach. This structural analysis examines how the film's 15-point plot structure maps to proven narrative frameworks across 1 hour and 34 minutes. With an Arcplot score of 7.4, the film balances conventional beats with creative variation.
Structural Analysis
The Status Quo at 1 minutes (1% through the runtime) establishes The Verneuil family estate in Chinon. Claude and Marie Verneuil, traditional Catholic bourgeois parents, are shown as pillars of their conservative community, living a comfortable, conventional life.. Notably, this early placement immediately immerses viewers in the story world.
The inciting incident occurs at 10 minutes when Laure announces she is engaged to Charles Koffi, an Ivorian Catholic. While he is Catholic (which should please the parents), he is Black, triggering Claude's deeply buried prejudices and shattering his hopes for a "traditional" French son-in-law.. At 10% through the film, this Disruption aligns precisely with traditional story structure. This beat shifts the emotional landscape, launching the protagonist into the central conflict.
The First Threshold at 23 minutes marks the transition into Act II, occurring at 24% of the runtime. This demonstrates the protagonist's commitment to Claude reluctantly agrees to accept the engagement and proceed with wedding preparations, entering the world of having to confront his own prejudices while maintaining appearances in front of family and society., moving from reaction to action.
At 46 minutes, the Midpoint arrives at 49% of the runtime—precisely centered, creating perfect narrative symmetry. The analysis reveals that this crucial beat A major confrontation or revelation occurs - possibly Claude's prejudices are exposed publicly, or the Koffi family reveals they too have reservations. The false harmony shatters, raising stakes as the wedding approaches and family tensions peak., fundamentally raising what's at risk. The emotional intensity shifts, dividing the narrative into clear before-and-after phases.
The Collapse moment at 69 minutes (73% through) represents the emotional nadir. Here, The wedding is called off or seriously threatened. Claude and/or André's true feelings come out, devastating their children. The dream of family unity and acceptance dies. Both families face the consequences of their prejudices., demonstrates the protagonist at their lowest point. This beat's placement in the final quarter sets up the climactic reversal.
The Second Threshold at 75 minutes initiates the final act resolution at 80% of the runtime. Claude has an epiphany: his daughters' happiness matters more than his prejudices. He realizes that family is defined by love, not ethnicity or religion. He decides to truly accept all his sons-in-law and make things right., demonstrating the transformation achieved throughout the journey.
Emotional Journey
Serial (Bad) Weddings's emotional architecture traces a deliberate progression across 15 carefully calibrated beats.
Narrative Framework
This structural analysis employs proven narrative structure principles that track dramatic progression. By mapping Serial (Bad) Weddings against these established plot points, we can identify how Philippe de Chauveron utilizes or subverts traditional narrative conventions. The plot point approach reveals not only adherence to structural principles but also creative choices that distinguish Serial (Bad) Weddings within the comedy genre.
Philippe de Chauveron's Structural Approach
Among the 3 Philippe de Chauveron films analyzed on Arcplot, the average structural score is 7.3, reflecting strong command of classical structure. Serial (Bad) Weddings represents one of the director's most structurally precise works. For comparative analysis, explore the complete Philippe de Chauveron filmography.
Comparative Analysis
Additional comedy films include The Ministry of Ungentlemanly Warfare, The Bad Guys and Lake Placid. For more Philippe de Chauveron analyses, see Serial (Bad) Weddings 3, Serial (Bad) Weddings 2.
Plot Points by Act
Act I
SetupStatus Quo
The Verneuil family estate in Chinon. Claude and Marie Verneuil, traditional Catholic bourgeois parents, are shown as pillars of their conservative community, living a comfortable, conventional life.
Theme
Marie or a family member mentions expectations about family tradition and how things "should be" - foreshadowing the tension between parental expectations and modern multicultural reality.
Worldbuilding
Introduction of the Verneuil parents and their four daughters. The first three daughters are already married to men of different backgrounds: a Muslim, a Jew, and a Chinese man, much to their parents' dismay. Only their youngest daughter Laure remains unmarried - their last hope for a traditional Catholic wedding.
Disruption
Laure announces she is engaged to Charles Koffi, an Ivorian Catholic. While he is Catholic (which should please the parents), he is Black, triggering Claude's deeply buried prejudices and shattering his hopes for a "traditional" French son-in-law.
Resistance
Claude and Marie debate how to handle the situation. They meet Charles and his family. Claude internally wrestles with his prejudices while trying to appear open-minded. The other sons-in-law provide commentary and comic relief as they observe the parents' struggle.
Act II
ConfrontationFirst Threshold
Claude reluctantly agrees to accept the engagement and proceed with wedding preparations, entering the world of having to confront his own prejudices while maintaining appearances in front of family and society.
Mirror World
Introduction or deepening of Charles' father André Koffi's character, who mirrors Claude's prejudices from the opposite perspective - he too had dreams of a different marriage for his son and struggles with the cultural differences.
Premise
Wedding preparation chaos. Comic situations arise from cultural clashes between families. The four sons-in-law interact, providing commentary on French prejudices. Claude and Marie navigate awkward situations with each of their multicultural in-laws. The promise of the premise: culture-clash comedy.
Midpoint
A major confrontation or revelation occurs - possibly Claude's prejudices are exposed publicly, or the Koffi family reveals they too have reservations. The false harmony shatters, raising stakes as the wedding approaches and family tensions peak.
Opposition
Tensions escalate between the families. Each son-in-law faces discrimination or awkwardness. The parents' prejudices become harder to hide. Plans threaten to fall apart. Both sets of parents struggle with accepting the marriage.
Collapse
The wedding is called off or seriously threatened. Claude and/or André's true feelings come out, devastating their children. The dream of family unity and acceptance dies. Both families face the consequences of their prejudices.
Crisis
Claude reflects on what truly matters. He sees the pain he's caused his daughters and realizes his prejudices have poisoned his family relationships. Marie may provide wisdom. The other daughters and sons-in-law react to the crisis.
Act III
ResolutionSecond Threshold
Claude has an epiphany: his daughters' happiness matters more than his prejudices. He realizes that family is defined by love, not ethnicity or religion. He decides to truly accept all his sons-in-law and make things right.
Synthesis
Claude reconciles with his daughters and Charles. He reaches out to André and the other families. The wedding is back on. Both sets of parents work together to celebrate their children. The wedding ceremony becomes a true celebration of multicultural unity.
Transformation
The wedding reception or final family gathering shows the Verneuils surrounded by their diverse, multicultural family - all four sons-in-law, their children, celebrating together. Claude is genuinely happy, transformed from a prejudiced man into an accepting father. The family estate now represents unity in diversity rather than traditional exclusivity.