Even though The Midwife — the latest from writer/director Martin Provost — opens with a live birth, the story revolves around an off-screen death, with Claire (Catherine Frot) at the center of both. She is a midwife, and we come to know the type of woman she is by watching her make her rounds delivering babies all day and all night. Fastidious and capable, its no surprise when we find out she doesn’t drink, smoke, or stray outside the line. Then a rupture comes: Claire’s father has committed suicide. Claire deals with it, but she feels an obligation to inform … Continue reading THE MIDWIFE
Most movies are based on true stories, true events or at the very least, have some root in reality. That’s how the mind works, the moment of inspiration often comes from real experience and then the mind extrapolate outward. That is why the disclaimer, “Based on a true story” is often so frustrating. Movies, like imagination, are best when they are allowed to run wild. Instead, an adherence to reality shackles a movie, forcing it to never truly blossom the way a writer or director may want it to. That is problem that lies at the root of In the Name of … Continue reading IN THE NAME OF MY DAUGHTER
There is an old adage that behind every great man is an even greater woman. Behind Pierre-Auguste and Jean Renoir were six women, so it should be no surprise the amount of success they both achieved. Renoir focuses on the famous impressionist painter at the end of his career and the son at the beginning of his. Bridging this gap is one woman, the often forgotten Andrée Heuschling, who was Pierre-Auguste’s last model and Jean’s first wife. Renoir takes a close look at Andrée and the role she played in the lives of these two men. For Pierre-Auguste, she was a model, a subject with round firm breasts and skin like velvet. For Jean, Andrée was the force that drove him into the movies and a career as a legendary filmmaker. For both, she filled a void left by another’s death.
Continue reading “RENOIR”