Polish nuns reexamine their faith following unspeakable tragedy during WWII in Les Innocentes
CinéSalon: THE INNOCENTS (LES INNOCENTES) (AGNUS DEI) (Anne Fontaine, 2016)
French Institute Alliance Française, Florence Gould Hall
55 East 59th St. between Madison & Park Aves.
Tuesday, October 24, $14 ($23 for both films), 4:00
Series continues Tuesdays through October 31
212-355-6100
www.fiaf.org
www.musicboxfilms.com
FIAF’s CinéSalon series “Cinematographer Caroline Champetier: Shaping the Light” continues the celebration of the career of the César-winning French director of photography October 24 with two of her best films, Anne Fontaine’s Les Innocentes and Léos Carax’s Holy Motors, each of which will be followed by a Q&A and wine and beer reception with Champetier. Inspired by a true story, Les Innocentes is a haunting tale of a French WWII Red Cross doctor, Mathilde Beaulieu (Lou de Laâge), who is secretly summoned by Sister Maria (Agata Buzek) to help a nun give birth in a remote Polish convent. She soon discovers that several of the Benedictine nuns are pregnant, the result of brutal rapes by Soviet soldiers. The Mother Superior (Agata Kulesza) doesn’t want any outsiders to know what happened, out of both shame and fear, but the babies, and the nuns themselves, may not survive without obstetric care. Mathilde, a Communist, is stationed at a mobile surgical hospital in Warsaw, where she primarily assists Samuel (Vincent Macaigne), a Jewish doctor tending to wounded soldiers after the war, in December 1945; she gets into trouble with Samuel when she refuses to even hint at where she is disappearing to. As the due dates for the multiple births draw close, so does the danger surrounding Mathilde and the nuns.
Les Innocentes was nominated for four Césars, Best Film, Best Director, Best Original Screenplay — even though it was based on the diaries of French Resistance doctor Madeleine Pauliac — and Best Cinematography, by Champetier (Of Gods and Men, Toute une nuit), who does an exquisite job with her camera throughout the film, which is beautifully directed by Fontaine (Coco Before Chanel, Gemma Bovery). In scene after scene, amid a palette dominated by black, white, and brownish gray, a light glows near the center of the screen, from candles, open doorways, windows, and snow to a fire, lamps, truck headlights, and even the white parts of the nuns’ habits, giving the film a chiaroscuro look reminiscent of canvases by Georges de la Tour. It’s like a flicker of hope at the center of tragedy, or birth coming out of death as the nuns and the doctors reexamine their faith, their basic belief system, and the concept of motherhood. De Laâge, who was nominated twice for the Most Promising Actress César, gives a heartfelt, honest performance as Mathilde, as she goes back and forth between her duties with the Red Cross and her deep-set desire to help the nuns. Champetier’s camera loves her face, which often melts into the shot like a figure in a classical painting. Les Innocentes is a powerful look at some of the many innocent victims of war and how far people will go to protect their secrets. Les Innocentes is screening October 24 at 4:00 at FIAF, followed by a Q&A and wine and beer reception with Champetier.
Léos Carax’s Holy Motors is a dazzling tribute to Paris, cinema, and the art of storytelling
CinéSalon: HOLY MOTORS (Léos Carax, 2012)
Tuesday, October 24, $14 ($23 for both films), 7:30
www.fiaf.org
www.holymotorsfilm.com
French writer-director Léos Carax (Boy Meets Girl, Mauvais Sang) has made only five feature films in his thirty-plus-year career, a sadly low output for such an innovative, talented director, but in 2012 he gave birth to his masterpiece, the endlessly intriguing, confusing, and exhilarating Holy Motors. His first film since 1999’s POLA X, the work is a surreal tale of character and identity, spreading across multiple genres in a series of bizarre, entertaining, and often indecipherable set pieces. Holy Motors opens with Carax himself playing le Dormeur, a man who wakes up and walks through a hidden door in his room and into a movie theater where a packed house, watching King Vidor’s The Crowd, is fast asleep. The focus soon shifts to Carax alter ego Denis Lavant as Monsieur Oscar, a curious character who is being chauffeured around Paris in a white stretch limo driven by the elegant Céline (Édith Scob). Oscar has a list of assignments for the day that involve his putting on elaborate costumes — including revisiting his sewer character from Merde, Carax’s contribution to the 2009 omnibus Tokyo! that also included shorts by Michel Gondry and Bon Joon-ho — and becoming immersed in scenes that might or might not be staged, blurring the lines between fiction and reality within, of course, a completely fictional world to begin with. It is as if each scene is a separate little movie, and indeed, Carax, whose middle name is Oscar, has said that he made Holy Motors after several other projects fell through, so perhaps he has melded many of those ideas into this fabulously abstruse tale that constantly reinvents itself.
Stunningly photographed by Caroline Champetier, former president of the French Association of Cinematographers, the film is also a loving tribute to Paris, the cinema, and the art of storytelling, with direct and indirect references to Franz Kafka, E. T. A. Hoffman, Charlie Chaplin, Lon Chaney, Eadweard Muybridge, Georges Franju, and others. (Scob, who starred in Franju’s Eyes Without a Face, at one point even pulls out a mask similar to the one she wore in that classic thriller.) The outstanding cast also features Kylie Minogue, who does indeed get to sing; Eva Mendes as a robotic model; and Michel Piccoli as the mysterious Man with the Birthmark. Holy Motors is screening October 24 at 7:30 at FIAF, followed by a Q&A and wine and beer reception with Champetier. “Cinematographer Caroline Champetier: Shaping the Light” concludes October 31 with Margarethe von Trotta’s Hannah Arendt and Jean-Luc Godard’s Grandeur et décadence d’un petit commerce de cinema.