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Sweet Dreams (2016)
5/10
I was dissapointed
18 December 2021
Due to a comment on this film, I thought it would have some similarity to "The assault", a very good 1986 dutch film of Fons Rademakers.

It was my first disappointment, because it differs greatly in its quality and cinematographic development, beyond the fact that the story is about an adult tormented by a tragedy suffered as a child (adolescent in the case of Dutch cinema), who wants to know details about what, On one fateful night, it really happened.

I found some similarity with "Never look away", a 2018 German film that shows a boy influenced by his eccentric and a little crazy aunt (here is the mother of the protagonist who has these characteristics), but also, by the way It was filmed, I saw a similarity with some productions by Michelangelo Antonioni, which I did not like very much but were highly appreciated in the sixties, such as "The adventure" (very good photography, unlike the film I am reviewing) and "La notte".

Perhaps this similarity to Antonioni's cinema explains why "Sweet Dreams" has had ten nominations for David di Donatello, including Best Picture.

But I did not like it.

The plot is confusing, with somewhat discordant comings and goings from different eras, a slow pace that seemed somewhat boring to me, dark colors and an exaggeratedly gloomy atmosphere, spoiled emotional scenes and inconsequential performances, except, perhaps, that of Bérénice Bejo, who did not can stand out a lot given the brevity of her role I rate this film with 5.5 points (between barely acceptable to mediocre) and I only recommend it to those who appreciate this type of cinema, filmed in a relatively original way, but, in my opinion, very neglected.
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8/10
Very interesting film about the existence of miracles
26 May 2021
Warning: Spoilers
I think it is certainly an atypical movie, for at least two reasons.

In the first place, because it shows a fact that, if it were not real, would be considered totally implausible.

Secondly, because it is very different from productions of this type that tend to target the sensitivity of an undemanding audience, showing low blows or, at the other extreme, showing scenes excessively sweetened with a superficial or childish treatment.

Regarding the first consideration, I remember an essay by an Argentine novelist, Hugo Wast, about his way of writing, in which he relates that, at the beginning of his career as a writer, he showed his grandmother a manuscript in which they died, because of an epidemic, the five children of a family. The grandmother told him that this should not be included in the novel because it was implausible. Wast said, "But, Grandma, you told me about a real case where that happened!" "Yes," answered the grandmother, "that can happen in reality, but never in fiction."

As for the second consideration, I was struck by the very serious treatment on such a controversial subject as the possibility of the existence of miracles. Here the scientist Albert Einstein is quoted, saying that it can be said that miracles do not exist, but, with the same degree of truthfulness, it can also be said that all reality is a miracle.

The film is not meant to stand out as a magnificent piece of art, but it is a deeply human testimony.

It is not a documentary film, but the acting part, except perhaps for the presence of a well-known actress like Queen Latifah and, to a lesser extent, Martin Henderson (the main actor of the series "Virgin River"), is totally simple, privileging the rapport with the deep drama of the plot and showing much more humanity than histrionics.

The themes of life and death, disease and pain, faith and skepticism, religiosity and trust in God or rebellion against his designs, the struggle to survive and humanitarian aid are presented throughout the whole development.

The film maintains a very intense suspense, at times almost unbearable, and, although in the title itself it is explicit that everything will end in the best way, the outcome is truly amazing. Perhaps the way this outcome is portrayed is the film's only weakness, which up to that point shows remarkable solidity.

In short, it is an interesting film, with very committed actors, a successful direction and a lot of humanism and sympathy in the characters, mainly the doctor, who despite being a world-wide eminence in his specialty, treats the sick girl with extreme care and professionalism, but all this complemented with a playful method in the best Patch Adams style.

Along with the Indian film "Stars on Earth", it is the best film I have seen in fourteen months of forced confinement due to the Covid pandemic and therefore I recommend it, without a doubt, to both those who believe in miracles and those you think are mere fantasies.
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Le défroqué (1954)
10/10
An excellent film due to the presence of Pierre Fesnay
13 April 2008
There are some comments about this film that say that it is a bad and silly one and such an excellent actor as Pierre Fresnay should not have accepted to act in it.

I think, just the opposite, that, even when the film is strange and has some weaknesses, the performance of Pierre Fresnay is so formidable that it converts the film in something excellent.

His performance is probably the best in history.

The film itself has a very polemic scene about the consecration of wine in the cabaret.

For somebody who does not believe that a priest – even a defrocked one – can convert it in Christ's blood, the scene is perhaps bizarre. But for somebody who has been raised in a catholic framework, it is very emotive even if quite unpleasant.

The scene of the death of the younger priest is tremendously shocking. But it is very well acted. Pierre Fresnay turns the crazy act of murder in something understandable within the temporal madness of his character, the tortured defrocked Morand who, in this terrible way, comes back to his duty.
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