It may still be Christmas for the troubled Vuillard faction in the northwest French municipality of Roubaix but it’s not shared seasonal goodwill that’s bringing this extended children back together in the family accommodations. The instigator is mommy and grandmother Junon (Catherine Deneuve), who’s treating family ties as a responsibility arrangement and calling in a genetic favour: this distant matriarch has the selfsame disease that years ago killed her first son by her older, softer husband Abel (Jean-Paul Roussillon) and now she wants one-liner of her three adult kids, Elizabeth (Anne Consigny), Henri (Mathieu Amalric) or Ivan (Melvil Poupaud) to bequeath blood marrow to increase her chances of survival.

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In spite of Desplechin, whose option is recompense sprawling, talky ensemble pieces (‘Kings and Queen’, ‘Ma Vie Sexuelle’), Junon’s crisis is little more than an excuse to inspect incessant family rifts, secret desires, last traumas and emotional diversions. The effect flits between the wearying (not helped by the direction quickly and a distancing early section) and the engrossing as some storylines and characters work far more than others. It’s Amalric who entertains the most with the bizarre Henri, the drunken, wayward son whom his mum outright dislikes and whose financial disasters have estranged him from his more vertical-backed sister Elizabeth.

In Henri’s tow is a experimental, amused, unflappable girlfriend, Nora, played warmly by Emmanuelle Devos. Abroad, though, it’s hard to buy Ivan’s reaction when his wife spends a night with his cousin – rightful one of too numerous character or story moments that jar. You could, of course, forgive the in the main enterprise as the extravagances of an intellectual fairytale, but the film’s wayward eccentricities outbalance its righteous performances and breezy significant of a muddle of a plot.