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Berlin, the Romantic Era. Young poet Heinrich wishes to conquer the inevitability of death through love, yet is unable to convince his skeptical cousin Marie to join him in a suicide pact. ... See full summary »
After a freak accident, Burt finds himself locked in a coffin overnight. After surviving the ordeal, he decides to live his life purely for pleasure, but ultimately he finds himself in a ... See full summary »
A young couple marry in France in the 1940s and the film follows the arc of their marriage over the next decade. As France recovers from the trauma of the war, the wife finds herself ... See full summary »
When the script for Lourdes (2009) first landed on Sylvie Testud's desk, her initial reaction was that she didn't want to do anything that might involve her playing a nun or taking easy potshots at religion. She instantly changed her mind after reading the script. See more »
This is a dreadful film. If it had been made in the 1960s, criticising the petty-mindedness of the bourgeoisie and the blame-the-victim attitude of Christianity, it would have been a fairly mediocre but worthwhile and important effort. But it was made in 2009, and the world has moved on, in some respects at least. I live a couple of hours from Lourdes, and people here in France simply don't talk and act as repressed (any more) as they do in the movie. The dialogue was incredibly stilted and full of clichés, as were the characterisations. Some people write that the movie comments on life and religion on many subtle ways. Other than showcasing, once again, the cruelty and incompetence of the Christian mindset towards those that suffer, I didn't see any deep meanings, subtlety or anything illuminating making it worthwhile sitting through all this. I mean, do we really have to listen, again, to people discussing that hoary old chestnut, of how God can be all powerful and all good, yet allows suffering in the world? Or the man walking away from the girl after she falls, how much more clichéd can you get? The film clearly is made with honesty and integrity, but sadly with a great lack of originality. It looks as if Hausner tried to make a film in the tradition of social realism, which is fair enough, but it's far inferior to many other movies in the genre, and her approach really is forty years out of date.
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