THE BOYS OF ST VINCENT

Canada, 1992, 91 minutes, Colour.
Henry Czerny, Johnny Marino,
Directed by John N.Smith.


Still one of the most powerful and frank films about sexual abuse of minors is The Boys of St Vincent (1992, director John N. Smith) and its companion film, The Boys of St Vincent: 15 Years Later (1992, Dir John N.Smith). What seems surprising in retrospect is that it was produced in the early 1990s at a time when, especially in the English-speaking world, awareness of sexual abuse within the Catholic Church was only beginning to be publicly known. The film anticipates so much of the controversies, sympathies for the survivors of abuse, condemnation of the predators, discussions, court cases, revelations about the behaviour of authorities, especially in terms of limiting public awareness, transfers of abusers and official cover-ups.

It has been noted that, since the film was made in Canada, it is more explicit visually and thematically than films made in the United States.

The setting is the city of St John, Newfoundland. An opening note declares that the film has been inspired by actual events but is not a re-enactment. The setting for the first film is 1975, an orphanage in the city run by the Brothers of All Saints. There are several brothers who abuse the boys, especially in the dormitories. A central focus of the two films is the In text. Lavan, played with great intensity by Henry Czerny.

The film shows in some detail the community life of the brothers, some camaraderie, for instance, as they watch slides from their past, some rigidity in the discussions at the meal table, constant work as they teach, coach, supervise dormitory and showers, the dominance of the superior. It can be stressed that not all the brothers were abusers and one brother, Brother Mac, is seen teaching catechism, supervising genially, a good friend to the boys who later declare to the investigating police that he is a good man.

The young boy who suffers abuse is ten year old Kevin (Johnny Marino) who is specially groomed by Brother Lavin. There is more detail at the end of 15 Years Later when Kevin gives testimony in court. He has been taken out of the dormitory to the Brother’s room, sat on his knee, fondled, his clothes removed, touching, passionate kissing and encouraged to say that Brother was his mother. Kevin attempts to run away but is brought back by the police and taken to Brother Lavin’s room. When he reacts, Brother Lavin takes his belt and beats the boy and throws him against the wall. He allows Kevin to stay in bed the next day but the new handyman, Mike Finn, talks with the boy, discovers the injuries and confronts Brother Lavin only to be threatened with being fired. He takes the boy to the hospital, with Brother Lavin intervening and explaining away the injuries.

Brother Lavin is tormented man, asserting his authority, resisting the police and their enquiries, explaining and justifying himself and the brothers to the Archbishop and his assistant bishop when they called him in to make enquiries.

Several of the other brothers are abusers, especially in dormitory scenes and a later, collage, rather frank and explicit, of the Brothers’ sexual behaviour.

When Mike Finn goes to the authorities, they want him to fill in forms. They consider the accusations unsubstantiated, wary about intervening in church matters, given the solid reputation of the orphanage in the city and the prospective million-dollar donation for development to be presented by the Minister. The enquiring detective and other police interview the boys at some length, some reluctant, Kevin eventually giving all the details of Brother Lavin’s behaviour and he and the other boys signing witness statements.

There is a telling moment during the rehearsal for the presentation of the donation cheque with Kevin asked to hold the check and then shake hands with the Minister – with Brother Lavin standing in for the rehearsal and Kevin reluctant to shake his hand but Brother Lavin grasping it.

The crisis moments for the film have Kevin in the basement of the orphanage, a rather demented Brother Lavin going to find him, pursuing him, holding, fondling, kissing – when other boys and Brother Mac find him and Brother Mac demands that he let Kevin go and says he is a disgrace.

The film ends with the removal of the brothers, some going to a centre for rehabilitation after confessing their abuse, and Brother Lavin being transferred. New brothers come onto the staff, the new superior-superintendent giving a very stern speech to the boys saying that all would continue normally. Kevin and many of the others remain at the orphanage.


1. A film of 1992, about sexual abuse in an orphanage in 1975, a film early in those films made about sexual abuse in Catholic institutions? Seen in the light of other revelations around the world, the behaviour of teaching brothers, the reaction of authorities, transfer of religious, lack of care for survivors of abuse, cover-ups?

2. The setting in Newfoundland or St John, the city, the buildings, the orphanage, the police precincts, the ecclesiastical settings? The musical score?

3. The focus on the Brothers, their way of life, the wearing of habits, crucifixes, community life, watching the slides, the saying of grace, the dominance of the Superior, supervising the dormitory, the showers, teaching classes, recreation and games, the rehearsal for the giving of the donation, the strictness of the way of life – the contrast with Brother Mac, friendly, genial, in the dormitory, in-class with catechism, the rehearsal? The boys later praising him as a good man?

4. The boys in the orphanage, the range of age, their way of life, the backgrounds, lack of parents, the strict routines in the orphanage, timetables, showers, dormitory’s, classes, recreation? The reaction to the Brothers? Normal? The abuse and the repercussions?

5. Brother Lavin, the Superior, his stern demeanour, his role as superintendent, taking it seriously, especially regards outside influence, not allowing the social worker to come in, his reaction to Michael Finn and his talking about the boys, the abuse, threats and fire, his reaction to the police coming in? A humourless man? The importance of fund-raising and his connection with the Archbishop and his assistant?

6. Kevin, the focus of attention by Brother Lavin, his age, his being singled out, the scenes with Brother Lavin, the intimacy, calling Brother his mother, the fondling, removal of clothes, the kissing, the explicit nature of the scenes? Kevin’s reaction, Brother Lavin taking his belt, beating the boy, throwing him against the wall, his injuries and Brother arguing them away? The interview with the doctor?

7. Kevin and his reaction, telling Brother that he was not his mother or father, going to the docks, running away, being brought home by the police, Brother’s reaction?

8. The offending brothers in the dormitory, the visuals of her behaviour direct and explicit, the treatment, Brian and his defiance, Brother Lavin urging the use of the strap, the brother and his sadistic hitting? Brian not crying? His wanting to protect his brother? Going away? Leaving Stephen?

9. Michael Finn, working with Kevin, going to the police, the authorities and telling him to fill in a form? His reaction? His confronting Brother Lavin? Dismissed?

10. The detective, the range of interviews, the response of the boys, reluctance to tell the story, Stephen and his denial of the abuse, Kevin and his gradual revelation? The documents, the boys signing?

11. The Archbishop, the preparation for the big donation, the discussions with the Minister? The raising of the abuse issues, his interview with Brother Lavin, the role of his assistant bishop, confronting Brother Lavin? His denials?

12. The government officials, the Minister, the chief of police, his attack on the detective, saying the material was speculative, wanting a report with all sexual references omitted?

13. The rehearsal for the ceremony, Kevin and the cheque, having to shake Brother Lavin’s hand?

14. The ceremony, all going according to rehearsal?

15. The Archbishop, confronting Brother Lavin, the threats, the role of the assistant bishop?

16. The brothers leaving, disgraced, transferred?

17. The finale, in the basement, Brother Lavin and Kevin, chasing him, embracing him, kissing him, passionate? The boys leading Brother Mac down, Brother Mac and his demands that Brother Lavin surrender the boy?

18. The aftermath, the boys staying in the institution, the transfer of the offending brothers, the reasons given, the possibilities for rehabilitation in the centre, their confessing their abusive behaviour? The new brothers coming in, the speech of the head, his sternness, wanting to ensure that all would continue normally?

19. This film in the light of subsequent experience around the world and subsequent films?

THE LOBSTER

Ireland/Greece, 2015, 118 minutes, Colour.
Colin Farrell, Rachel Weisz, Ben Whishaw, John C. Reilly, Olivia Colman, Ariane Labed, Lea Seydoux.
Directed by Yorgos Lanthimos.

A number of people have described this film as “weird”. And they are not entirely wrong. But, it is an interesting kind of weird!

As we first look at the film, it does not look particularly weird at all. The director, Yorgos Lanthimos, famous for his weird film Dogtooth, is Greek, has filmed in Ireland and in English. The setting is woodland by a river, one of those old Greystone Irish buildings standing in for a hotel. So far, so arresting. But it is when we start to listen to the dialogue, that the weirdness begins to set in.

This is a somewhat future society, one of those dystopian societies, where this hotel has been set up and managed for single people to come and find a partner in life. But, they have 45 days to do this, otherwise they will be turned into an animal of their choice! The central character, David, has opted for becoming a lobster!

David is played by Colin Farrell, who has put on some weight for the part, is not as young and vigorous as he was in his early screen days, is rather reticent, even deadpan, shortsighted with his spectacles. His wife has left him. He is welcomed by the staff who have all been drilled in the ethos of the hotel, has to hand in all personal possessions including clothes and is supplied with clothes and shoes from the hotel. Is given a spacious room, but on the first night has an arm handcuffed to his back and has to manage nonetheless. Breakfast is announced, he goes to the dining room where he meets the Lisping Man (John C.Reilly) and the Limping Man (Ben Whishaw).

There is a narration by Rachel Weisz, explaining the characters and situations, and she will make a later appearance is one of the Loners out in the forest who will find a relationship with David. One of the exercises for all of the guests is to be issued with a rifle, dart guns in order to hunt down Loners in the woods. And so the days go, with lectures from the manager and roll plays to illustrate dangers in company, a dance, with introductions to various characters with descriptions rather than names, like the Biscuit-eating Woman or the Blood Nose Woman (who becomes a partner with The Limping man who engineers nosebleeds in order to relate to her).

David seems to manage at first, but then goes into the woods with the Loners, meeting the Short-sighted Woman and bonding with her, especially on a trip to the city, which seems rather normal except for the interrogating guards, with the help of the Leader of the Loners, Lea Seydoux.

The film goes on from there, the activities in the woods, the loners going on exercises like raiding one of the yachts where couples live, attacking the room of the manager of that hotel and her husband…

After some grim episodes, the film stops… Or rather leaves its narrative, its themes, its strange humour, its seriousness, for the audience to reflect on, wondering what has happened to human nature, what has happened to relationships and love, and what will be the consequences.

1. The title, audience expectations? Society? Characters?

2. The title, the explanation, characters turning into chosen animals? David’s choice? The work of the director, the singing strangeness of his films?

3. The Irish settings, the grand hotel, exteriors and interiors, the woods, the water, the shopping mall? The atmospheric score?

4. Dystopian society, ordinary-looking? The audience listening to the dialogue, descriptions of behaviour, the program and its call?

5. The voice-over, from the Short-sighted woman, to be seen later?

6. David, Colin Farrell, overweight, age, wearing glasses? Short-sighted? Arriving, enrolled, giving up his clothing, the substitute clothing, taking him to his room, handcuffed, awkward during the night, the announcement for breakfast, going down, meeting the two men, going for the walk and talking?

7. David and his manner of talking, less than emotional?

8. The hotel, the idea of 45 days to find a partner, the penalty, then turned into an animal of choice? The Limping Man and the story of his mother turning into a lion, his going to the zoo to identify her, the injury to his lake? The management, speeches, the small plays about safety and company, the dance and People’s performing, the manager and her partner and their song?

9. The Lisping Man, sexual preoccupations, masturbation, disobeying the rules? The Limping Man, his story, his attraction to the girl and the nose bleeding, his banging his head, the nosebleeds, confiding in David, getting a partner, on the boat, the child, the discussions – and David ultimately revealing the truth?

10. The Loners, out in the woods, the clients hunting, the rifles, the darts, the shooting, lining up the corpses?

11. The effect on David, his life, and his memories, of his wife, the companionship of his dog, the violence, his going into the woods?

12. The Loners, meeting the Short-sighted Woman, the bond between them, talking, sharing, emotions, a partnership, tentative at first? Sharing their stories of sight?

13. The Leader of the Loners, her role, leadership, the revolution, the attacks, David rowing the boat, the raid on the shot and the Limping Man, the raid on the manager and her partner, tying them up, the threats?

14. The leader taking them shopping, the shopping mall, seemingly normal, the security and questions?

15. The Short-sighted Woman, her being blinded, the reasons, the results?

16. David sharing with the woman, the dependence, heightened senses, mutual help?

17. David, in the mirror, self-blinding?

18. The end, the two together, what future?

19. The story as an allegory about the contemporary world, the nature of relationships, love, dependence?

THE RETURN OF THE KILLER TOMATOES

US, 1988, 98 minutes, Colour.
Anthony Starke, George Clooney, John Astin, Steve Lundquist, Karen Mistal.
Directed by John De Bello.

Who would have thought? George Clooney in his initial role, his appearance, usefulness, hair, his dialogue, his acting abilities – and the scope for improving? His transition within 10 years was quite marked, appearing in televisions’ ER and then moving into films, becoming a celebrity as well as involved in political and social causes.

The original The Attack on the Killer Tomatoes, which had when released 10 years earlier in 1978, was something of a cult movie. The film makers have put tongue firmly in cheek to make this sequel. It is often quite amusing parody of all kinds of films and has plenty of movie references including posters of the wall, the theme music from The Godfather, and a sendup of mad scientists and science fiction, communal paranoia about an enemy infiltrating, and gung ho reaction against the tomatoes…

The film is also very self-conscious, opening with a sendup of the beach bingo and bikini girls movies and then moving on to a television quiz – which is re-introduced right at the end, at a crucial moment, when the mad scientist gets a phone call and wins the competition!

At times during the film, there is a focus on the filmmakers, especially with the issue of financing and the director exasperated with the lack of funds, the extras standing by, the union advice that they be paid if they spoke, everybody being asked if this was all right and them all replying okay!

The other funny theme, especially for its being introduced in the 1980s, is that of product placement. This is the suggestion that will get the film made – and, what follows, is very obvious but very funny inclusion of all kinds of product placement, George Clooney doing advertisements (as he would do decades later for coffee), with Pepsi-Cola? everywhere, even on the back of the white coat of the mad scientist, people drinking Pepsi, eating candy bars, discussions about particular goods and packets of cornflakes randomly appearing.

John Astin is the mad scientist, working on tomatoes in his laboratory, creating warriors that look like Rambo, able to control the tomatoes by playing music. He has created his lab assistant, a mutant, who seems the dumb blonde, but who has all kinds of complex emotions, especially regarding sex, love for her pet mutant tomato, her interactions with the hero, Chad (Anthony Starke). She is particularly interested in food, wanting meat rather than vegetables, and particularly interested in goods which foster gardening.

Chad is employed and his uncle’s pizza bar, where they make extraordinary mixtures of traditional pizza with all kinds of sweets, candies and coconut, German peanut butter… His associate is Matt, George Clooney.

There are flashbacks to the invasion of the killer tomatoes, the combat, the uncle being a veteran, some of his old comrades turning up, the preparation for the attack on the tomatoes again.

Some of the film is very silly, intentionally so, but if one is in the mood, one enjoys the parallels and parody, some of the smart dialogue, the deadpan jokes, and the film’s drawing on all the traditions of the movies.

Direction is by John De Bello who also appears in the film as well as writing a theme song. The film is generally far cleverer than the many parodies which were about to come to the screen including the range of Scary Movies, also inviting comparisons with the mini parody stirring Leslie Nielsen.

There was a third in the trilogy, 1991, The Killer Tomatoes Strike Back! With John Astin returning as a scientist and Steve Lundquist as the would-be television interviewer and lab assistant, Igor, who resembles rocky the Rocky Horror Picture Show.

99 HOMES

US, 2014, 112 minutes, Colour.
Andrew Garfield, Michael Shannon, Laura Dern, Clancy Brown, Noah Lomax, Tim Guinee.
Directed by Ramin and Bahrani.

One of the dire consequences of the global financial crisis of 2008 was the foreclosure on many homes, owners who had borrowed from banks but were unable to pay, the debts sold on to other companies who made merciless demands with a great number of evictions.

This is the setting of 99 Homes, in 2010.

Dennis Nash is a builder, living in his home, with his young son and with Dennis’ mother. They are played well by Andrew Garfield, Noah Lomax as, Connor, and Laura Dern. Dennis is on a building job when the finance collapses and he is not paid. Suddenly, the real estate agent, Rick Carver, Michael Shannon always so convincing as a villain, is at the door with police from the sheriff’s department and a group of labourers, demanding that Dennis and his family leave the house, are trespassing, because the bank owns the house and has delegated the eviction to Carver and his group – and the family is given two minutes grace to hurriedly pack what they need while the rest of their possessions are removed from the house onto the footpath.

The sequence is quite powerful, disturbing the audience emotionally as they identify with Dennis and his family, their shock, desperation, anger, resignation. They then have to move into a motel where they find families in similar situations.

When Dennis goes back to find his tools which seemed to have been stolen by some of the group, Carver is faced with a crisis in another house and offers Dennis the job, to fix it for ready cash. Dennis agrees, does the job well, and is offered quite a number of jobs, once again cash in hand, by Carver.

The film becomes one of those parables on the Gospel text, “what does it profit to gain the whole world and to lose one’s soul?”. Not only is Dennis effective at his jobs, he impresses Carver and they form a kind of friendship and partnership, with Dennis called on to do further jobs, especially stealing air conditioning units and swimming pool pumps so that Carver can offer to supply replacements and so gain contracts for selling the houses. Eventually, Dennis becomes an agent of eviction, confronting, especially, a neighbour who had met him in court when the decision went against Dennis and who is now in a similar situation.

Meanwhile, Carver thrives, owns a mansion, and another house lodging a mistress, is involved in million-dollar deals to own further houses and evict more people, a substantial cut going to Dennis who buys a better home for his family. When his mother realises what is going on, especially when, during his son’s birthday party, another family arrive at the motel and confront Dennis, she moves out with Connor.

The culmination of the film is, of course, conscience-time, with the neighbour going to court, a forged document submitted, a siege at the house with the rifle, and Dennis having to decide whether his career path has been worthwhile, and whether he has lost his integrity.

Many audiences will identify with the characters and situations, share the feelings of anger and desperation, be torn by the moral dilemmas that face Dennis (but which don’t seem to affect Carver). 99 Homes won an award in Venice 2014 from SIGNIS, the World Association for Communication.

1. The title? Audience expectations? The Global Financial Crisis in 2008, the consequences? Debts, foreclosures, evictions, consequences? Real stories?

2. The Orlando setting, the suburbs, the streets and homes, exteriors and interiors? The contrast with the mansions? The business world? The courts? The musical score?

3. Dennis, at work, the building, being laid off, no cash, his debts, his son, school, his mother living at home, her business with hair?

4. The scene of the eviction, emotional, its impact on the characters, on the audience? The effect of Dennis and his emotions, his son looking up to him, disappointed, his mother’s bewilderment? The pleas to Carver? loans, property and homes? Carver and his stances, calm, getting the sheriffs to do the work, his role, his company, for the banks, to himself? The workers outside? Two minutes grace to pack things to go, everything else on the footpath? The truck, the missing tools?

5. Going to the motel, the range of people there in similar circumstances, moving in, the small room, settling?

6. The tools, Dennis’s return to his home, meeting Carver, the challenge to the workers? The news about the house and the sewage, Carver offering money? Seeing Carver’s mansion, his daughters and wife, the other house, the girlfriend?

7. Carver and his offer, the temptation for Dennis, selling himself and his soul? The stealing of the air conditioning plants, the pool pumps, storing them? The plans for replacement, the scam, Carver supplying new amenities, getting the contracts, the cut for Dennis? Money in hand?

8. Carver as a character, Michael Shannon’s screen presence, look, manner of acting, his severity in his job, coming up from nothing, profitability, the friendship with Dennis, working together, the promise of money?

9. Dennis going solo, the evictions, meeting with Frank, the links from the time in court, the judge against Dennis, 60 seconds? Frank and the same experience? Dennis and the offer of keys for cash, the range of people seen, their needs, being ousted?

10. The issue of the home, trying to recover his old home, his buying the new house? The deal with his money, with Carver? The further deals, the meeting with the affluent businessman, the helicopter rides surveying the homes? The party, drinking, the affluent lifestyle?

11. Dennis, his son, at school, bonding, the birthday party, the aggressive man arriving, confronting Dennis, his wanting to hide? His mother and her reaction? Not wanting the new house? Ultimately taking her grandson to relatives in Tampa?

12. The final deal, Frank as target, the forged document, taking to the court, Dennis hesitant, its being snatched, the 60 seconds judgement, the harshness of the judge? Dennis and Frank and his family, the boy and his friendship with Dennis’s son?

13. The scene of the eviction, Frank and his gun, Dennis and his conscience, Carver and the sheriffs watching? Action, going up to Frank, confessing, Frank lowering the gun? Czaarver’s reaction?

14. The boy at the window of the car, Carver and his dealing with the situation? Dennis arrested?

15. What could happen after this?

JOURNAL D’UN CURE DE COMPAGNIE/ THE DIARY OF A COUNTRY PRIEST

France, 1951, 95 minutes, Black and white.
Claude Leydu, Jean Riveyre, Andre Guibert, Rachel Berendt, Nicole Maurey, Nicole Ladmiral.
Directed by Robert Bresson.

The best film portraying the serious life of a priest in the earlier part of this period is a French film, Diary of a Country Priest (1950), from a novel by Georges Bernanos, directed by Robert Bresson. Claude Laydu is a young priest in rural France, dying and trying to see whether he has been in any way effective in his life and in his ministry. The film presupposes that the style of parish life seen here is close to the norm, that the life is one of self-sacrifice and that a priest’s fulfilment as a person is through self-abnegation, modelling himself on the suffering Christ. This is a particularly French spirituality, developed in the latter part of the 19th century, a dying to self, which Diary presents both literally and symbolically. Another Bernanos’ adaptation was released almost forty years later, Under Satan’s Sun (1987) with Gerard Depardieu as another tormented priest, directed by Maurice Pialat.

1. The film is a classic French film, on the Catholic Church, priesthood?

2. The novel written in 1936, reflecting this period? The film made in 1950, released 1951, reflecting this later period? The era of a stable church, hierarchical church, unchanging? Seen in the light of the 20th century experience, the 1960s and change, the Second Vatican Council, the aftermath?

3. The novel, the faith of the author, his belief in the church, his wanting more spirituality in the church?

4. The director, adapting the hollow novel, his own personal faith in interpreting the novel, writing the screenplay, the style of the filming? The austerity of the style? Considered transcendent?

5. The black-and-white photography, somewhat overcast rather than in fine weather, the grim touch? The musical score?

6. The title, the focus on the diary, the visuals of the priest writing in his diary, the opportunity to see him in action but also to his words and his reflections?

7. The priest, known only as the parish priest of Ambricourt? The young man, sent by the Bishop, the comment that the Bishop must have been hard up to send him, his simple clothes, cassock, in vestments in church, old pullover in the presbytery? Riding his bicycle?

8. The presbytery, old, getting electricity? The rooms, his bedroom? The church, traditional, the altar, the statues…? The celebration of Mass, Louise the only person present, the altar server? The details of the Mass?

9. The locals, hostile attitudes, the local farmer and the talk about money? The children at the catechetical class, talking about the Eucharist, Seraphita and her smart answer, their plotting against the priest? The governess, the presence of mass?

10. The priest and his health, stomach pain, the bread and wine and the sugar, no meat and vegetables? His feeling ill? Going to the neighbouring parish priest at Torcy, getting his advice, the priest’s criticism of the seminaries, weaknesses of the priests, their giving up, his encouraging the young priest? The continued visits, encouraging him to do what he could, small things? His explanation of the priest’s ancestors and their alcoholism and its effect, many of the parishioners thinking he was alcoholic?

11. The visit to the Count, his plans for developing an area for the young people, his disliking the Saturday dance and its temptations? The Count receiving him, severe, dismissing him, the Count not liking him, intending to speak to the Bishop about his transfer?

12. The Count’s daughter, to be sent away by her parents, the visit to the priest, having written a letter, wanting him to go, her being sent away, the priest challenging her attitudes, offering the confessional and her refusal? Her later listening in to the priest’s conversation with her mother, assuming that the conversation had an effect on her mother and her death? Her later realising the truth, coming to visit the priest, the apology, helping him to pack?

13. Countess, the importance of the conversation between the Countess and the priest, the core of the film? The personal grief, the death of her child, estrangement from her husband, from her daughter? His affair? Memories of her grief, antagonism towards God, wanting to be with her child, no matter what, risking God’s punishment? The priest challenging her, her resignation, his asking her to give her pride to God, that God was not the master of love but love itself? The significance of the discussion, the priest understanding himself better, her imperious manner and his cowardly presence, truly changing her, that God was not a torturer, that God saw human misery and wants to come down to earth? That Jesus had already been killed? The effect on the Countess, kneeling, his sign peace? The suddenness of her death?

14. The priest and his doctor, atheist, the discussions, the recognition of the wounded soul, his illness, the doctor and the priest’s ancestors and alcoholism? The doctor’s death, the shooting accident, the priest’s grief, the priest of Torcy and his saying God was not judgemental but just, the funeral?

15. The priest hurrying to the manor, the Countess’s death, standing by her body, his grief, emotion, touching her forehead?

16. His interview with the cannon, his being called into account, criticism of his actions, asking him to write down the Countess’s conversation and his refusal, warning of the transfer?

17. The priest’s attempts to pray, prayer like oxygen, his being desperate, dark night of the soul? The experience with the Countess and his transcendent mystical experience?

18. His intending to do visits, his collapse in the mud, Seraphita helping him, her confession, tenderness? His decision to go to the doctor, the ride on the motorbike, enjoying the speed, the conversation with Olivier about priesthood, the possibility of being a friend, the reminiscences about the priest in the Legion and his being shot, soldiers not liking a God of justice – but justice with honour?

19. Going to the city, in the church, the visit the doctor, the diagnosis, cancer, an illness not associated with the young?

20. His visit to his friend, the illness, leaving the priesthood, setting up the business, his discussions about the intellectual life and reading, the priest saying that if he had disobeyed his ordination vows, it would be for the sake of the love of a woman? His meeting the cleaning woman and discovering her relationship to the priest, but her giving him the opportunity to start?

21. The silhouette of the cross on the wall, the voice-over describing the collapse, the haemorrhage, the rosary, asking for absolution, the final peace: All is Grace?

THE DRESSMAKER

Australia, 2015, 118 minutes, Colour.
Kate Winslet, Judy Davis, Liam Hemsworth, Hugo Weaving, Sarah Snook, Kerry Fox, Rebecca Gibney, Gyton Grantley, Shane Jacobson, Caroline Goodall, Barry Otto, Julia Blake, Sasha Horler, Terry Norris, Shane Bourne, Mark Leonard Winter, Alison Whyte, Genevieve Lemon.
Directed by Jocelyn Moorhouse.


in many ways, this is a curious film, the characters and the plotline moving in ways that the audience might not have anticipated, sometimes very serious, sometimes with humour, sometimes with touches of a nasty vengeance. But, it is particularly well made and acted, adapted from a novel by Rosalie Ham, co-written by the director Jocelyn Moorhouse, who made such an impact in 1991 with Proof, to films in the US, but no film for almost 20 years. Her husband, P.J.Hogan, also acted as second unit director and co-writer.

The Dressmaker sounds a very quiet kind of title, rather sedate, but that also is deceiving.

The setting is 1951, a rather remote country town between Sydney and Melbourne, a small place, some homes, some shops, a local council, a local policeman, and some rivalry in football and theatrics with the next town along the line. The film offers a look back at Australia in the middle of the 20th century.

Into the town comes a very stylish looking woman, fashionable clothes, someone who obviously does not belong to the town, Tilly, played by Kate Winslet. But, in fact, she does belong to the town or, at least, she did. Throughout the film there are quite a number of flashbacks to Tilly and the other now-adults and their schooldays, their play together, friendships in the yard, bullying in the yard, and death of one of the children and the blame being put on Tilly who was sent away to boarding school and has stayed away for decades, going overseas and becoming a skilful international dress designer and dressmaker.

Why has Tilly returned at this stage? Is to understand herself better, to reacquaint herself with her mother, to find out the truth about whether she had killed the young boy or not? Or, some revenge?

The town is absolutely full of eccentric characters, played by a great number of veteran Australian screen and stage actors in cameo roles. This has to be one of the best casts of any Australian film.

First of all there is Tilly’s mother, called Mad Molly by all the people in the town, living as a recluse in a rather dirty old house, dressed raggedly, not quite all there, and not too sure about her daughter when she arrives back, cleaning up the house, getting her mother back on her feet, trying to probe what happened to her as a little girl. Judy Davis gives yet another extraordinary performance as Molly, referring to herself at one time as a tag, and looking and acting like it, but not without the wicked sense of humour and a beginning of appreciating her daughter.

Then there is the policeman, played by Hugo Weaving who welcomes Tilly back because he is something of a secret cross-dresser, secret in 1951, but exuberantly caught up in Tilly’s materials and creations – and who played a part, as the policeman, into her being sent away.

Tilly makes quite an impression on some of the young people in the town, a number of whom she went to school with, especially Teddy, a good, strong role for Liam Hemsworth, captain of the local football team – who, during a match, like the audience itself, cannot take their eyes from Tilly in her striking red dress, then in her striking black dress!

The locals are against Tilly, especially the prim school teacher, Kerry Fox, who was instrumental in blaming Tilly in the past. There are the parents of the dead boy, Shane Bourne, local councillor, philanderer, bringing in Una (Sasha Horler) as a rival dressmaker, and Alison Whyte, the withdrawn and still grieving mother. At the local store, there are Shane Jacobson and Rebecca Gibney, pillars of the community, and their plain daughter, Sarah Snook – with memories of the schoolyard of the past, and agreeing to get a fashion makeover from Tilly, especially to entice the young son, Mark Leonard Winter, of a rather snobbish citizen, played by Caroline Goodall.

Tilly mellows somewhat, though not against teeing off with golf balls from her mother’s house and swinging them towards the school and other town buildings, making her presence felt. She is also comfortable with Teddy – though this is one of the difficulties in the casting that both Sarah Snook and Liam Hemsworth are both in their mid 20s while Kate Winslet is nearing 40, the characters meant to be 35.

The film often veers into quirky Australian comedy, ironic and satiric in its way, especially with the rivalry between the two dressmakers, a drenched wedding sequence, and the competitiveness between the two towns for the award for best costumes at the Theatre Festival (Una with elaborate costumes for Macbeth and Tilly for the rival town with costumes for The Mikado).

Towards the end of the film, it seems that it is about to end several times, but it does go on with some surprising developments, not all of them happy, and, in apocalyptic fire ending with Tilly, of course, vindicated.

For those who are intrigued as they watch it, a second viewing could be recommended.


1. The title, expectations – the film going beyond them?

2. The blend of serious, comic, ironic?

3. A small Australian country town, the surrounding bush, isolated, homes, shops, school, football matches, theatre competitions, police? The feel of this kind of country town? The musical score?

4. 1951, the details of the atmosphere, the shops and contents, outside in the street, shops, awnings, advertisements? Clothes? Cars, petrol station?

5. Tilly’s arrival, the bus travelling through the countryside? Kate Winslet’s screen presence? The initial impression, her poise, clothes, meeting Sergeant Ferrat? In herself, the gradual revelation of her character and her past?

6. Building the story, her mother, Mad Molly, her father (later revelations of who he was and his actions)?, The young girl, gawky, playing with the children, her being ousted, the boy bullying, his death, her being blamed, the schoolteacher’s evidence, Sergeant Ferrat’s action, her being sent away?

7. The buildup to her being sent away, going into exile, away from her mother, boarding school, her experiences, going overseas, London, Paris, Milan, the international experience, her skills, her return? Expectations of what would happen to her? The motivations for her return?

8. Meeting her mother, her ambivalence, the golf balls hit at the targets including the school, the shop? Her animosity and the return animosity from the townspeople? Wanting to bring her mother back to consciousness, to find out about her identity, the truth of what happened? Her inability to remember the death of the boy?

9. Settling in, cleaning the mess in her mother’s house, her mother’s reaction? The football match, the red dress and her provocative poses, changing to the black dress? Offering to make dresses for the people in the town, Gertrude and her plainness, coming to see Tilly, the promise of the makeover? The mother’s reaction? Her achievement? Sergeant Ferrat, his cross dressing, his luxuriating in the materials?

10. The councillor, superior, the memories of his dead son, his wife, being sedated? Her grief, memories? Bringing in Una, as a rival for Tilly dressmaking, his affair with her? Tilly, the visit to the councillor, to his wife, the explanations, the change?

11. The shop, the Pratt family, the liveliness of the mother, the role of the father, in the town? Gertrude, plain, at work in the shop, her eye of the young man, his mother’s disapproval? The makeover, the new dress, at the dance? Yet a harsh girl in the past with Tilly, unwilling to help her? The wedding? The townswomen the poses with the dresses? Ganging up against Tilly, the theatre competition, going to Una, the dresses for Macbeth?

12. The young man’s mother, snobbish, her place in the town, attitudes towards the Pratt family, her comments, the change of heart, the wedding?

13. Teddy, from the trailer park, the glimpses of his mother and her being ostracised? Barney, mentally disabled, Teddy looking after him? The football match and captain? The past memories at school, of Tilly? The attraction? Her mellowing? Going to see Sunset Boulevard? Possibilities? The affair, going to the silo, his jumping in, death by suffocation, Barney, his help, cutting the hole in the silo? The funeral? The sad scene of his mother and family leaving the town?

14. Dr Almanac, his past, narrow attitudes, his hunch, his sick wife, sitting on the veranda, the marijuana brownies, the effect on Mrs Almanac, Molly coming to visit her, Tilly, telling the truth?

15. The teacher, prim, in love with the Councillor, the past, picking on Tilly, the children playing in the yard, blaming Tilly for the boy’s death, not having seen it, the testimony to Sergeant Farrett, the document, his lending into Tilly and her bribing him with materials, Tilly finally confronting her and her defensiveness? The truth, flashbacks, the boy running at Tilly, hitting his head of the wall, and dying? Barney in the tree seeing it? The theatre competition, the other town, the rivalry, the committee coming to see Tilly, Tilly agreeing to make the costumes, getting her vengeance, the success of The Mikado, Una and her failure, the other women upset in their costumes?

16. Molly, coming to life and regaining her memory, her sardonic comments, supporting her daughter, assertive, her sudden death? The funeral? Tilly, preparing to leave, burning her mother’s house, the petrol path down to the town, setting it alight, the town going up in flames? Tilly, in the train, leaving – and her comment on the nature of the rubbish that was being cleansed in the town?

LITTLE ACCIDENTS

US, 2014, 105 minutes, Colour.
Elizabeth Banks, Boyd Holbrook, Jacob Lofland, Josh Lucas, Chloe Sevigny.
Directed by Sarah Colangelo.

Little Accidents is a story from West Virginia, of a mining town. At the opening, there is a disaster at the mine, 10 men killed with only one survivor. This is a big accident, but there are a number of Little accidents involving the central characters throughout the film.

Boyd Holbrook portrays the survivor, Amos, who lives with his father, also a miner. Amos has suffered injuries because of the accident, is pressed by fellow miners to give testimony at an enquiry, is a devout man who attends Bible studies.

Elizabeth Banks and Josh Lucas are the parents of a young boy, something of a bully, who taunts Owen Briggs (Jacob Lofland) whose father was killed in the accident. When Owen throws a stone at the boy, he falls and hits his head on a rock and dies, Owen concealing the body and not telling anyone, though his Downs Syndrome brother was present at the time.

The film develops the character of Owen, young and inexperienced, afraid, mourning the death of his father, supportive of his brother and of his grieving mother. He also becomes involved with the parents of the dead boy, helping them with work around the house. The mother who is somewhat alienated from her husband, one of the bosses who is asked to cover the potential for an accident and is being made the scapegoat of the company, begins an affair with Amos after she goes to a Bible study class.

The film intertwines the story of the three central characters who are convincingly played, coming to a solution, especially when Owen confesses the truth to the grieving mother.

A small film, but worthwhile in its presentation of its characters and their moral challenges.

1. West Virginia, the town, the mines, hard lives?

2. The visuals of the town, of the mine, the tunnels, the homes, the woods? The musical score?

3. The title, the big accident of the mine, the Little accidents of the manslaughter of the young boy, infidelity and relationships?

4. The opening, the mine, the men, the collage of scenes, the explosion, the deaths, the rescue of Amos, the consequences? His survival, injuries and healing, the importance of his testimony, the company, the warnings, the dust, negligence, criminal negligence, silence and witness, the inquiry?

5. Amos’ story, in himself, his age, living with his father, their interactions and discussions, alone, limping, having to cope, going to the bar, the union man urging him, his memories and lapses of memory, time passing, involved in the search for the missing boy, the invitation to Doyle to join the Bible class? Diana’s presence, his sympathy for her, meeting on the street at night, the affair, the motel visits, the effect on him, with Owen, with Diana, with Doyle? The impact of his father’s death? His decision to give witness, the consequences?

6. Owen’s story, the death of his father, caring for his Downs Syndrome brother, his relationship with his mother, the care of his aunt, his age, responsibility? Wanting acceptance with the other boys, taking the beer, the interactions with them, their bullying, all going off, JT and his taunting Owen, Owen throwing the stone, JT and his collapse, death? Owen with his brother, urging him to silence? Dragging the body and hiding it? His lies, to the authorities? The reaction of the other boys? His mother? His continued care of his brother? Meeting Diana, the bond? Talking, working at the home, the gift of the bike? With Amos? The effect on his brother, his mother’s reaction, his final decision, going to tell the truth to Diana – and the audience not hearing, but watching? Her reactions? Owen, integrity, forgiveness or not?

7. Diana’s story, her background as a cheerleader, marriage to Doyle, the comfortable life, love for her son? Her husband and his job, the inquiry, the tensions at home, the ordinary details of the day, the news about JT, not wanting him to be dead, the search in the woods? Diana and the encounter with Amos, going to the Bible study, the effect on her, on her breath, nerves, her self-revelation? Meeting Amos by chance in the night, going to the motel, the beginnings of the affair, the sexual relationship? Finding opportunities to be with Amos? The effect, in herself, her grief, alienation from her husband and his responsibility at the mine? Continuing the affair, the final clash with Amos, the break? Her grief, with Owen, his companionship, working round the house? His telling the truth?

8. Owen’s mother, widow, grief, coping, work? Her sister and looking after the boys?

9. The intercutting of the stories, the different anxieties, of the three central characters, Doyle, his meeting with the bosses, their scapegoating him, the consequences, his responsibility?

10. The hearing, the testimony, the consequences?

THE MOGULS


US, 2005, 90 minutes, Colour.
Jeff Bridges, Tim Blake Nelson, Joe Pantoliano, Ted Danson, William Fichtner, Patrick Fugit, John Hawkes, Brad Henke, Glenne Headley, Tom Bower, Lauren Graham, Alex D.Linz, Jean Tripplehorn, Isaiah Washington, Steven Weber, Valerie Perrine, Judy Greer, Eileen Brennan, Brad Garrett.
Directed by Michael Traeger.

Moguls, this crowd of buddies certainly are not. Andy Sargentee (Jeff Bridges in his Big Lebowski mode) thinks up ideas, ideas for making money, involving his friends and their money – and they never work. He gets the featherbrained idea that the way to make money is to produce a pornographic movie. Well, this may not be the story you want to watch but, for a film on this theme, there is comparatively little in the film itself. It takes for granted an amoral world in which pornography is just another pastime but it still offers us squeamish attitudes, touches of modesty and finally shows us that its heart is in the right place. A porno film is not the kind of movie one really wants to or ought to make. It’s just another topic for a light-hearted series of jokes.

The cast is quite substantial. Friends include William Fichtner, Ted Danson (acting against type as a bachelor gay man in oblivious denial), Joe Pantoliano and Tim Blake Nelson. Patrick Fugit is the video store geek who does the filming. Glenne Headley, Jeanne Tripplehorn and Valerie Perrine are also around.

Despite their less than savoury endeavours (most of which go wrong), the group are a likeable lot, good friends and supportive of one another – and, to that extent, this is quite a genial film.


1. A local comedy drama? The home town touches? The small town, the making of the film, consequences for the people?

2. The town, homes, the streets, the wealthy, poorer, bars, shops?

3. The range of the cast and the characters?

4. The title, the emphasis on Moguls, the emphasis on Amateurs?

5. Andy, Jeff Bridges and his screen presence, his character and style, the voice-over and his telling the story, controlling the time, touches of the fast forward, his ex-wife and her new husband, their mansion, the bonding with his son, his son’s admiration for his father, the discussions about buying the baseball and the reactions of the people in the shop, the cost, his son with all the basketballs, and the court in his room? The variety of friends, his introductions to each of the characters?

6. His wife, his relationship with her, friendly, his son, wanting to go with friends for the weekend? Later, the achievement of the film, his son’s pride in his father?

7. Andy, midlife crisis, sitting in the bar, concentrating, inventing, the brainwave?

8. The idea, making a porn film, pornography and the US, audience response to pornography, curiosity, prurience? Andy and his going to the video store, borrowing all the copies, watching, developing his idea?

9. Gathering his friends, asking for the $2000 outlay, their enthusiasms, means of getting the money, the plans, the discussions about the relative jobs? The friends watching the videos?

10. Barney, close friend for Andy, in the bar, his infatuation with Helen, the men in her life, always late, being ditched, Barney wanting to help, support, her giving him the cold shoulder? Helen and her character, and agreeing to go into the film, the setup for the scene, the sex toys, Barney upset, coming to the house, getting the negatives, throwing them in the fireplace, his love for Helen, Andy eventually persuading her that this was true?

11. Otis, his life, friendship with the girl, attitude towards pornography, his role in wanting to be on the set and watching, his crude language and coarse attitude towards the film?

12. Ron and Mo, friends, agreeing to do the scene, the scenes of the acting?

13. Emmett, at the video shop, always with the camera, filming?

14. Some Idiot, his studies, Andy putting him off, his wanting to be writer-director, his script, cutting it down, filming the scenes and directing performance? His gratitude for being able to do the work?

15. Ellie in the shop, Andy planning to ask her about the feasibility, her responding affirmatively to everything, agreeing to be in the film, anticipating all of his questions? Her recently-divorced boss, participating, using the shop?

16. Finding V, her being willing, participating in the film?

17. Moose, friends with everyone, the fact that he was gay, refusing to acknowledge it, his exaggerated hetero boasting, the others knowing the truth, his enthusiasm for the film, watching, volunteering to perform, with V, impotence, his failure? Otis telling the truth, his finally accepting this, their still being his friends?

18. The film, the difficulties, the interview with the 3 black men, the discussions afterwards about the finance, the pressures?

19. The Premier, everyone invited, and inviting the girl that he intended to invite for the part but did not? The credits, the friends at the bar, the 2 older ladies? The brother turning up, smashing the film, the machine, the brawl? The loss of the film?

20. Andy and his sense of failure, the new brainwave, going to see Emmett, Emmett having filmed everything on video, all the footage, commissioning him to edit it, eliminating the sex scenes, a film about the town and the planning of a film? Going to the Festival, winning the prize, the group on stage, and his speech? His ex-wife, the new husband (and his lending the money), success for everyone, profits, everybody buying something nice and new?

21. A folksy kind of film, despite the sleazy aspect of making the pornographic film?

THUNDERBIRDS

UK, 2004, 95 minutes, Colour.
Bill Paxton, Anthony Edwards, Sofia Myles, Ron Cook, Ben Kingsley, Vanessa Hudgens.
Directed by Jonathan Frakes.

There are two approaches to reviewing Thunderbirds: the first is by those who saw the series on television with its puppetry and animation and will be eager to see whether their memories have been honoured in this live action adaptation; the second is by those who never saw the television series and who are looking at Thunderbirds as a stand-alone film. This reviewer belongs to the latter group.

Maybe because it is directed by Jonathan Frakes, who appeared in the latterday Star Trek films and directed one of them, but there are Trekky moments, especially in the conception of the chief villain, The Hood, played with generally quiet but sadistic relish by Ben Kingsley (especially his power to immobilise opponents by the stare of his cat’s eyes) as well as his odd-looking associates. (For a while, it looked as though the film was over-mocking anyone with glasses who had to be a brilliant nerd, those who stammered and a villain with both glasses and buck teeth, but in the middle there are some rebukes for those who laugh at other’s limitations or eccentricities).

What the film seemed most reminiscent of was the Spy Kids series. While the Tracy family, Dad and four sons (plus Alan who is still at school and on the receiving end of some of Dad’s disapproval but who, of course, with the help of two young friends, saves the day) are the Thunderbirds, they are not spies. Rather, they are an elite squad who can turn up at a moment’s notice (well, perhaps two or three, but their spaceship like vehicles really are fast) and remedy flood, fire or even dredge a monorail carriage from the Thames.

Bill Paxton is a sturdy goody with Anthony Edwards almost unrecognisable as the resident boffin. Sophia Myles, rather pretty (and always) in pink and Ron Cook as her unflappable chauffeur – they live a rather Lara Croft way of life - are the Thunderbirds’ allies.

This is a film that seems geared to young teenagers in an old-fashioned Boys’ Own Adventure way that has to learn to work in a team, with the bespectacled brains and that Boy’s Own Adventures have to make way for Girl’s Adventures too.

SIMSHAR

Malta, 2014, 101 minutes, Colour.
Lofti Adbelli, Jimi Busuttil, Sekouba Doucoure, Chrysander Agius, Adrian Farrugia. Clare Agius, Mark Mifsud.
Directed by Rebecca Cremona.

It is not often that we see a film from Malta. Many western films have sequences made there but not one that is made by the Maltese themselves. This is a topical story, a story of an island in the middle of the Mediterranean, on the route from Libya to Italy, to the not-so-distant island of Lampedusa. It is a story of refugees from Africa as well is a story of families and fishermen from Malta itself. Simshar is the name of a boat.

On the one hand, the film is principally about the Maltese themselves, their fishing livelihood, the impositions of bureaucracy, the challenges to fishermen to bypass the impositions, the role of the fishermen and their families, the work of doctors who are called on to help on the refugee ships, the role of the police and authorities.

The film introduces three younger middle-aged men who are friends. The principal friend is Simon, who works tuna fishing on the Simshar with his father (the man playing the father, Jimi Busuttil, is not a professional actor but an actual fishermen), has a loving wife and a mischievous young son, Theo. (Theo with his friends, sometimes dressed as altar boys ringing the church bells, is not above testing out whether a cat has nine lives and throwing it over the belltower.) Simon is visited by an officious bureaucrat, threatened about his catch, refrigeration, regulations and limitations – but decides to go out with his father and with Theo, going south beyond the boundaries towards Libya.

John is a police official, married and friends with Simon’s family. We see him in action when a refugee ship is caught in international disputes between Italy and Malta, sailing back and forth on the Mediterranean, in discussions with the captain and crew, and in discussions with Alex who comes as a doctor inspecting the health of the refugees and involved in the search and rescue helicopter operation.

Alex is a married, a doctor, going on to the refugee ship, examining a range of passengers including a pregnant woman whose husband has died but who does not want to go ashore because she is being supported by her brother who is not allowed to leave the boat. There is also a man suffering from dementia. The audience sees many sequences of the people on the boat, sitting listlessly, with hopes of getting ashore and refuge, clambering when there is an opportunity to leave the boat. There is also an African woman refugee who serves as a translator for Alex and who challenges him to behave more compassionately towards the refugees.

This means that there is a great deal in the plot to reveal something about Malta and the situation of so many refugees crossing the Mediterranean and drowning.

But the climax of the film is the focus on Simon, his father and his son, going beyond where people are expecting them to be, encountering difficulties, especially the disregard by a Libyan vessel captain who does not want to be caught up in rescuing people at sea. What makes this part of the film particularly moving is that on the boat with the family is an African man who is working in Malta, a hard-working and diligent man, who tries his best in the face of impending loss at sea.

The film was co-written and directed by Rebecca Cremona who has an eye for filming the islands and the seascapes beautifully and who brings a sensitive awareness of the complexity of situations for Malta itself at this time as well as for the local protagonists and their stories.

1. A Maltese film, the story, the director, the cast – with the Tunisian lead?

2. The visuals of Malta, the old towns, homes, churches, streets? The significance of the sea, the boats, fishing, asylum seekers crossing the Mediterranean? The musical score?

3. Audience knowledge of Malta? Aware of the refugee situation in the Mediterranean? Maltese life, traditions, language, at the Mediterranean crossroads, the British past, the Catholic tradition?

4. Simon’s story? His relationship with his father, on the boat, tuna fishing, the limits, the refrigeration breaking down, the losses? The visit of the bureaucrat, his interrogation, setting limits, threatening that they could not go to see? At home, his love for his wife, his personal style, with his children? The decision to go out to sea with his father, taking Moussa, the decision to take Theo, their going south, beyond the Maltese limits?

5. John and his story? Family, the bonds between the two wives, jogging, the boys and the soccer at the church, the parish priest? His role as an authority, police, on the migrant boats, dealing with the asylum seekers, the captain? Alex, wanting him to leave the boat? The warnings? The search assignment for the boat? His suspension, the law and regulations?

6. Alex and his story? Jogging, as a doctor, single, on the boat, dealing with the refugees, the pregnant woman and her brother, her refusal to leave, the men with dementia? The work of the translator, friendship, her challenge to him? His decision to stay, the experience and its effect?

7. The political situation for the boats, the captain, the refugees, their harsh experience, Maltese authorities and Italians? Finally landing at Lampedusa, their being received, some hostility from the Italians and Alex’s confronting them, the bosses?

8. The Libyans, the boats, fishermen, the refusal to pick up refugees and rescue them?

9. Theo, the little boy, his friends, playing, soccer at the church, the parish priest? The cat and nine lives and their throwing it over? At home, the bond with his mother, sports, his going on the boat, helping his father, the phone calls, the sports results? The admiration for his father?

10. The old man, his experience, support from Simon? Fishing? The fire, unable to put it out, the boat sinking, Moussa and helping with the flotation, leaving from the boat, out of range of where they should be and phone contact? In the water for so many days, the son, thirst, exposure? The old man and his death, cutting him free? The Libyan boat, the captain refusing to pick up and rescue? Moussa and his deciding to swim, his disappearing under the water? Theo, ill, his disappearance and his body never recovered? Simon rescued and the consequences?

11. Simon’s wife, the details of her life, with her sons, going out, the religious processions, concern about her husband, trying to make contact? With the locals and their secrecy about fishing and regulations? John and his coming to the bar, their keeping quiet?

12. The authorities, trying to make radio contact, the phone?

13. The parish priest, stern with the boys playing soccer at the church, yet his presence with the mother, comforting grief?

14. The helicopter, the search, their being close, but not seeing the floaters?

15. A human story, a microcosm of life in water, the locals and the refugees, reflecting the macrocosm of these years and the huge migrations of asylum seekers?