Wonderful film from the director of French blassic
Girlhood that was one of the front runners for the Palme d'Or until Parasite snatched it up. It did walk away with Best Screenplay but it definitely feels like it could've taken a bigger prize because while the writing is great, the acting, cinematography and overall direction are goddamn special too and it instantly shot into my Top 3 for the year. A female painter is hired to secretly paint the portrait of an arranged bride-to-be, and while the contrast in personalities between the two could not be bigger, they slowly grow close together. All of which may sound very traditional but this is one of the few female empowerment films that actually feels genuine and real, simply because it's about women finding support in each other in a patriarchic society rather than some forced 'overcoming the odds' tripe.
One of the more pleasant films I've encountered in this new wave of French 'intellectuals comedy'. Daniel Auteuil plays an old-fashioned cartoonist who has become estranged from his cold and bitter wife who has fully immersed into the corporate and personal applications of technology. Their son, seeing their marriage struggles, offers his father an invitation to the company of a friend of his that specializes in recreating time periods for rich folks to hang around in and relive the past. The old cartoonist decides to choose a specific day in 1974, when he met his greatest love in a café. The result is a nice film about broken relationships and the broken people in them, who all search for something real while spending their lives in a fictional world.
Hors Normes (The Specials) is the new film from the directors of
Intouchables, and it's another real life story about unusual relationships. Vincent Cassel and Reda Kateb play two caretakers who run separate foundations taking care of people with such serious forms of autism that regular hospitals and private institutions do not want to treat them. When one of their foundations comes under investigation from the government for operating without proper license, their future is in jeopardy, all while we follow their daily struggles to take care of their patients as they barely find time to get anything close to a personal life. While this all seems pretty heavy, the two directors continually find that balance where they can make fun and light of some moments while never losing track of showing how lacking proper health care treatment of autism is in France (and certainly many other countries around the world) and how much time and energy it costs the people who are willing to help out because nobody else will.