Unlike many British actors, the French never do great work when they make films in the US. They can pull off the odd good film, like Jean Reno did with both Leon and Ronin, but they just seem to do better work at home.

Vincent Cassel is the same; his recent appearance in Black Swan certainly got him noticed but he hasn't had any consistent success State-side. Back on French soil however, and he's back to being quite the acting behemoth. This film sees him take on a character with a responsible position as a therapist, twisting him about like a Rubik's Cube.

Young Remy (Olivier Barthelemy) can sympathise with Kermit the frog; when Kermit sings "It's not easy being green" it could easily be about Remy – if you substitute 'green' for 'red' that is. You see Remy is a redhead, and he suffers greatly for it. So much so that his confidence is completely shot, making him a complete mess around family, friends and girls.

Just by chance, Patrick – a psychotherapist who is bored to death with his job and a fellow redhead – passes Remy getting hassle from his family on their doorstep. He stops and offers him a lift. From that point on, Patrick decides to take Remy under his wing, considering him his own little project.

The pair embark on a curious road trip; it's quite a journey for them both, physically and emotionally, leading them to some very dark places, as they search for a place where they think they'll finally belong.

I don't know about you but I feel I'm in the easiest Where's Wally? shot.

Romain Gavras (son of Costa) makes an impressive directorial debut with this quirky film. It has an edginess to it that is typically French, set against a bold yet bleak landscape.

He also gets some fine performances from his strong cast. Cassel is truly in his element as he slowly peels off layers of his character, revealing darker traits with every layer lost. What starts off as someone just bored with his life, ends up being an unpredictable time bomb. Barthelemy does well to hold his own against such an acting tour de force; he imbues his character with such a raw vulnerability, desperately seeking answers that he hopes Cassel's Patrick will provide. Together they create a constant visual car crash of talent, leaving a trail of bemusement and disbelief in their wake.

At its heart it's a story about two men who long to be accepted for who they are; its subtext clearly deals with social bullying on a larger scale, encompassing race, creed and colour. It by no means batters audience over the head with it, but it's definitely there, just below the surface.

It's the kind of film that not only the French do so well, but oddly, only the French can do. Our Day Will Come is then the visual definition of je ne sais quoi. This is a must-see for fans of Cassel and French cinema.