Displaying items by tag: Catherine Frot

MISERICORDE/ MISERICORDIA

France, 2024, 103 minutes, Colour.

Felix Kiysyl, Catherine Frot, Jean-Baptiste Durand, Sergei Richard, Jacques Develay, David Ayala.

Directed by Alain Guiraudie.

Misericordia has been described as an existential drama. As a useful description whether it be encouraging or off-putting. And, it is a French existential drama, remembering Descartes’s “I think, therefore I am”. As well as, “I feel, therefore I mm”.

Misericordia is the Latin word from Mercy, which also includes themes of kindness and forgiveness. In fact, this drama is set in a French village and a Catholic context, the iconography, a eulogy at a funeral questioning the nature of death, transition to a heavenly life of love, and the presence of a priest character throughout the film. At some moments, there is empathy for these religious themes, at other times, a critique of double standards in religious behaviour. And, in the middle of the film, a sequence not referred to in any of the main critiques, a very significant confession-reversal theme, a character standing in for the priest, the priest confessing as a penitent.

The significant point of reference for what happens in this village is the role of the central character, Jeremie, former baker, out of work, driving in the long opening sequence through the French countryside into the village, arriving for the funeral of a boss to whom he was devoted. The widow is very sympathetic. Her son, short-tempered, married with a child, has been alienated from Jeremie, his childhood friend.

Another point of reference. In the late 1960s, there were several films, including Paolo Pasolini’s Teorema, where a stranger enters the life of a family, seductive, changing each character.

There are some early intimations of the homoerotic atmosphere – and this certainly mergers throughout the film, fights between Jeremie and his alienated friend, physical and wrestling, Jeremie visiting another old friend, making an approach. The priest is also present much of the time, in the family home, and, especially, foraging in the important activity for the village, the search for and gathering of special mushrooms.

The screenplay stays with Jeremie throughout the film, initially enigmatic in his return, his decision to stay, trying to probe what is going on in his mind, in his emotions, the loner, the repressed gay man, his sometimes erratic behaviour, his violence, his lies, his rationalisations, the probing of the police and their investigations, continued support of the priest and the revelation of his own emotions.

Throughout the film the audience sees an alarm clock shining at various times during the night. And, sometimes, Jeremie cries out in his dreams, reliving the violence, imagining interrogation by the police in his room. Which means that the film should not be judged as “realistic”. Rather, it is something of a parable about a lonely man, wilful behaviour, acknowledging truth, experiencing some kind of Misericordia.

As has been said, this film is very French in tone. It might be something of a different experience were there to be an overtly emotional version from Italy or, by contrast, a sombre version from the Scandinavian countries. A film designed for thoughtful and reflective audiences.

1. The title, mercy, forgiveness? for Jeremie? For the other characters?
2. The French settings, the long prologue during the credits, the car journeying through the countryside, the mountains, the village, the streets, homes, the forests, the countryside? The musical score?
3. The religious dimensions of the film, the nature of Misericordia, the funeral for the deceased baker, the role of the parish priest, his words, his actions, his sexual orientation and behaviour, the reverse confessional sequence, his confessing to Jeremie, with the concealment? Jeremie, in himself, sexual drive, violence, the killing of the cover-up? The need for Misericordia?
4. Jeremie’s story, in the village, baker, his relationship with the dead man, travelling for the funeral, meeting Martine, staying with her, meeting Vincent, memories of the past of their friendship, the alienation? His delay, staying in the village, the visit to Walter, the sexual approach, the visiting again, their discussions? The hostility of Vincent, his wife and family, the final confrontation with Vincent, killing him, burying the body? Jeremie as an actor, the various scenarios, the lies?
5. Martine, her relationship with her husband, welcoming Jeremie, Vincent suspicious that he was wanting to have a relationship with his mother? Her character, support, her family, the ambiguities of Jeremie’s behaviour?
6. Walter, alone, friendship with Vincent, memories of Jeremie, the visits, and his behaviour, the sexual issues?
7. The parish priest, his character, visiting Martine, the funeral, the meals? His insight into Jeremie, Jeremie’s behaviour, his own attractions, the reverse confession, concealing Jeremie’s behaviour, the bargains with him, emotional? Saving Jeremie from the polics, the setup in the bedroom?
8. The concern about Vincent’s disappearance, his wife, Martine, the arrival of the police, their interrogations and enquiries? The various hypotheses? The possible solutions? Jeremie and his answer for every issue, weaving, lying, changing details?
9. The aftermath of this story, audience insight into Jeremie, as a person, his desires, sexual orientation, inherent violence, his violent behaviour cover-up? His future?

UNDER THE STARS OF PARIS / Sous les étoiles de Paris

France, 2020, 86 minutes, Colour.

Catherine Frot, Mahamadou Yaffa.

Directed by Claus Drexel.

A brief French film which is very touching. It focuses on life in Paris, especially for the poor and homeless. But it also focuses on refugee issues, detention, deporting.

The photography of Paris is visit, the river, the bridges, the streets, the life of the poor. There is some travel sequences, airport scenes.

The initial focus of attention is on Christine, an older homeless woman, played by veteran Catherine Frost. The early scenes show her life, age, clothes, walking the streets, collecting food, not interacting with people, her hideout for accommodation. Then the film introduces a young boy, played by Mahamadou Yaffa, who has since it appeared in some television series. He is from Africa, does not speak English, has lost his mother, has a document identifying her information that she is to be deported.

The boy follows Christine, she helping him, but wanting to be rid of him, his continual following her. The film shows the growing bond, Christine’s motherly tendencies, the boys need for some kind of physical support, food, emotional support, and the search for his mother. The scenes of the two bonding are quite moving.

The film shows the plight of refugees in France, deportation, the effect on people, on families, a challenge to refugee and deportation policy.

1. Brief film, human impact?
2. The title, the Paris settings, the river, bridges, the neighbourhoods, the streets, poverty, centres for the poor and hungry, the detention centre, the airport? The musical score?
3. The portrait of Christine, her age, physical condition, poverty, the way she walked, her clothes, communication, her hideout, the food, the magazine, the worker and his interactions? Relating to people, alone?
4. The portrait of Suli, Eritrea, his age, background, unable to speak in French, his mother, the document, detention, separated from his mother? Alone, lost, hungry? The encounter with Christine, helping, is seeing her as a mother, purging him off, his continuing to follow, the gradual bonding between them, travelling together, the information about the detention centre, the visit, getting more information, the airport, the further travels, in the airport, hiding, intervention Patrick, his sympathy, hiding them? The seeming frustration, the final glimpse, Patrick helping, the mother, reconciled with her son?
5. The effect on Christine, some meaning in her life joy, surrogate mother? The experience of the boy, his devotion to Christine, we Sulli and the future memories?