“Deep down I knew. We all knew. We did nothing.” Although it is not limited to the Catholic Church, sexual molestation of minors by clergy is an issue that continues to burden the church. In France, a notable example centered on a priest, Bernard Preynat, and the Archbishop of Lyon, Cardinal Barbarin, who oversaw the… [Read More]
Cyrano, My Love is an intersection of live and art. It could be debated which is imitating which as we follow fin-de-siècle French poet/playwright Edmund Rostand as he struggles to create the play which brought him fame and success, Cyrano de Bergerac. The film opens as Edmund (Thomas Solivérès) is opening an unsuccessful play. He… [Read More]
‘Tis the season of heartwarming holiday movies featuring cute kids, Santa Claus, and the joy of the season.
For Marguerite in the film, her fear and depression are overwhelming. Even the people around her and their love and attention cannot bring her out of her “slough of despond”.
Custody is a moving look at the pain that can come from a family disintegration—especially as that pain manifests in a child.
Farce, to me, occupies a place between the Shakespearean comedies of people falling in love and the modern romcom. False Confessions is a 21st century update of an 18th century French farce. If it seems stagy it is because of more than just its historical roots.
Life is a series of transitions, bookended by the two great transitions of birth and death. But along the way there are many more shifts in our lives—some trivial, others more profound. The Midwife is a story of the transitions of life that is (like life) a mixture of humor and poignancy.
“It’s twisted.” That brief line of dialogue defines Paul Verhoeven’s Elle in more ways than one. The plot certainly has very interesting turns along the way, but the convolutions of the personalities are what really make this entertaining and interesting. This is an intense psychological thriller, with the accent on psychological. Michèle (Isabelle Huppert) is… [Read More]
The film touches on the question of how God can allow such evil to exist, but without dwelling on it or trying to answer such and unanswerable question. Rather it focuses on how one moves on in the aftermath of such devastation—whether personal or societal.
The Measure of a Man received Special Mention from the Ecumenical Jury at Cannes a year ago “For its prophetical stance on the world of work and its sharp reflection on our tacit complicity in the inhumane logics of merchandising.”