Pras on WorldFilms: SANGRE DE MI SANGRE (US/Mexico | English/Spanish)

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Director and screenwriter Christopher Zalla’s debut film “PADRE NUESTRO,” (also released as “Sangre De Mi Sangre” in the US)  is a tale of stolen identity and desperation that unfolds as a taut thriller and showcases some awesome performances by a multi-generational cast.

At its heart the film is a story of survival at any cost and the odds that lie against an illegal immigrant, the grit and hardships demanded of these unfortunate people.

Padre Nuestro is a very original, very dark and shadowy drama with unexpected story twists. It also jerks you back and forth between two parallel story tracks.  The film won the Grand Jury Prize for Dramatic film of the 2007 Sundance Film Festival. It was also screened at the Cannes Film Festival.

In Padre Nuestro, a film almost entirely in Spanish with small English portions.

SangreWe meet the hero, Pedro, as he escapes from Mexico by quickly scaling a fence along the U.S. border. Waiting on the other side (not miles away, or hidden) is a truck for taking immigrants to New York. Pedro is hustled inside, the doors are slammed, and the truck begins a 2,500-mile journey, to be survived entirely on half a taco and a small bottle of water.

Now begins the story of Pedro (Jorge Adrián Espíndola), a Mexican immigrant who is traveling by truck to New York City to find his wealthy father, Diego (Jesús Ochoa), a man he has never met. All Pedro has is a 17-year-old letter with an address at which Diego once worked. He harbors a strong desire to make contact with his dad and carries the letter of introduction from his mother to help him accomplish his goal.

It is also the story of Juan (Armando Hernandez) Juan, a ruthless and conniving ex-career criminal who tries to escape his past by hopping on the same truck as Pedro, transporting illegal immigrants from Mexico to the Big Apple.and Pedro (Jorge Adrian Espindola).

sangre2Pedro (the sweet naive kid from Puebla long-estranged from his father, Diego) meets Juan meet on the truck.

Over the course of his journey, Juan meets and befriends Pedro. When the truck arrives he finds that Juan has stolen all he has,  and then proceeds to assume his identity to trick Pedro’s father throughout the movie. Pedro slowly makes his way to New York, but Juan arrives first and finds Diego, convincing him that he is his long-lost son. The truest of these relationships, paradoxically, is the false one.

sangre3Meanwhile, the “real” Pedro wanders the streets, remembering only his father’s street address (still accurate after 17 years). He enlists Magda, a hard-worn Mexican girl, who does drugs, makes a living by her wits and her body, and wants nothing to do with Pedro. They nevertheless become confederates, picking up $50 here or there by performing sex for men who want to watch.

Jesus Ochoa, a much-honored Mexican actor, creates a heartbreaking performance as Diego, the “old man,” as Juan always calls him. He was once in love in Mexico, left, sent sangre4money home, returned, and then (after apparently fathering the real Pedro), returned to New York 17 years ago. Maybe he told his wife he owned a restaurant, or maybe she lied about that to her son. No matter. He is a dishwasher and vegetable slicer, who earns extra money by sewing artificial roses. He has money stashed away. He is big, burly, very lonely. He comes to care for this “son.” Despite Juan’s deception, Juan comes to care for him — almost, you could say, as a father.

sangre 5Magda is a tougher case. She does not bestow her affection lightly, nor is the real Pedro attracted to prostitution as a way for them to earn money. But Christopher Zalla, (who wrote and directed this contemporary post-noir thriller), does a perceptive, concise job of showing us how Magda lives on the streets and nearly dies. Magda and Pedro are together as a matter of mutual survival.

sangre 6The film alternates between the story of each man as they each seek out food and shelter and comb the city for the man in whom they see a chance to establish a secure future. Pedro, Juan and Diego have paths that must eventually cross

 

 

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Pras on WorldFilms: Michael Moore’s WHERE TO INVADE NEXT

Sarcastic, Hilarious, Educational  And As Always, (Almost) Guaranteed To Make You Feel Shitty About The System That Exists In United States. “WHERE TO INVADE NEXT” finds Moore traveling to foreign countries, mainly in Europe, to claim their best civic ideas for America.

Where to Invade NextMichael Moore spent the first decade of the twenty-first century chronicling modern America at its worst: School shootings; a broken healthcare system; a berserk economy built on unregulated greed; and, most controversially, the Bush administration’s response to 9/11. It has been six years since Moore’s last big-screen documentary, “Capitalism: A Love Story,” and violence, injustice, and political cowardice are still everyday staples of American life.

As I walked in at this evening’s screening, I wondered if the new Michael Moore film was an anti-war message, or whether it was an indictment of America’s defense policies.   Michael Moore had taken them on already in the Cannes Palme d’Or winning Fahrenheit 9/11 back in 2004. He also took on the American healthcare system with his Oscar nominated film Sicko in 2007. He even took on gun violence and America’s obsession with guns back in 2002 with the Oscar & Cannes Palme d’Or winning film Bowling For Columbine.

His groundbreaking film ofcourse was the 1990 film  Roger & Me, a statement on corporate greed targeting General Motors  and how it bankrupted and destroyed his beloved home town of Flint, Michigan, a town in the news again about its suffering a massive drinking water contamination crisis  (the film was now used as subject material for many business school courses, including mine).

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This time around in the new film WHERE TO INVADE NEXT, Michael Moore trains his inimitable style of sarcasm and hilarious storytelling on the American education system, the American penal system, the deep social inequality and how America created a system built on white-washing our past history to showcase itself as the model system of national governance and economic management to the world, all at once. Now in his 60s, Moore has, in fact, transformed into a self-described “crazy optimist.”

To learn what the USA can learn from other nations, this time Michael Moore assumes the role of a self-appointed globetrotting “invader” on behalf of a much-troubled America to see what they have to offer. All that was missing was a cameo appearance by Bernie Sanders.

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Moore visits Italy to learn about how Italian companies allow their workers enjoys vacation days and worker pay that would unimaginable here, yet enjoys higher worker morale, productivity and prosperity that their American counterparts. Interesting visits to Ducati’s factory and interviews assembly line workers, and those at a high-fashion apparel house.

This image provided by Dog Eat Dog Films shows director Michael Moore, left, and Claudio Domenicali, CEO of Ducati, in a scene from his documentary, "Where to Invade Next." The movie opens in U.S. theaters on Feb. 12, 2016. (Dog Eat Dog Films via AP)

This image provided by Dog Eat Dog Films shows director Michael Moore, left, and Claudio Domenicali, CEO of Ducati, in a scene from his documentary, “Where to Invade Next.” The movie opens in U.S. theaters on Feb. 12, 2016. (Dog Eat Dog Films via AP)

In France Moore takes us on a visit to the public school system, the teaching system, the healthier school lunches served in French schools and  best of their no-homework policy.

In Slovenia, where a college education is free, he talks with American students and teachers who left America and moved here. They highlight why this system works better than America’s college system designed to load students with a lifelong burden of debt. He even gets a 45-minute private meeting with Borut Pahor, the sitting President of Slovenia.

In Germany we visit Faber-Castell, the famed maker of specialized pencils and drawing tools for schools and design work. In a digital age where use of paper is fast being replaced by the computer screen, Faber Castell has had its best year ever in productivity and worker morale.

Next we visit Portugal and meet with their head of drugs enforcement agency to understand why the country has the lowest incidence of drug-related offenses in a society that has decriminalized every kind of drug well beyond marijuana.

It’s the prison part of the film that proves to be especially insightful, with Moore learning that most developed countries outside of North America view prison as a means of rehabilitation rather than pure punishment.  Norway becomes his argument about a model penal system works and how its humane treatment of prisoners focus on human dignity and reformation and brings social benefits. He takes us inside two different prisons and chats with prisoners who live like free people, and administrative staff carries no weapons. Dehumanization is something that’s simply not acceptable in places like a Norweigian super-max prison where inmates start their sentence by watching a pop sing-along music video cover of “We Are the World” made by the guards

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As for Tunisia, the country that touched off the Arab Spring, Moore finds democratic passion not only still thriving there but actually achieving worthwhile results. On his only non-European stopover, Moore also takes time to interview a Tunisian activist who cannot understand why Americans know so little about the rest of the world, when the rest of the world knows so much about them. Tunisia where government funded healthcare services for women works better than most advanced countries. It was amazing to observe how women power and public opinion brought down a dictatorship and replaced with a deeply conservative Islamic government which also was forced to give in to changes in its anti-women policies.2where_to_invade_next__2015_1974

Perhaps the most incisive and insightful segment was his visit Iceland where he shows how a country that was almost destroyed by the economic fallout from the 2008 mortgage crisis clawed its way back to health and became prosperous again.We also discover an educational system that not only turned itself around from being one of the worst in the world to being quite possibly the best, but also one that includes such foreign-to-the-U.S. novelties as shorter school days, minimal homework, and no private schools, thus forcing rich and poor to inhabit the same spaces. Its also a country that has served a s a model for women-led politics and business. In feminist Iceland, even more fascinating than the fact that the nation elected one of the world’s first female president, Vigdís Finnbogadóttir, in 1980, is that the one bank that didn’t fall during their recent financial crisis had three women as part of its board of directors, thus leading to a discussion on how having more women in power led to diversity in views and leading to less risky business behaviour.

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Whether it’s serving tasty and nutritious school lunches or offering quality college education for free, these countries have found a way to do something meaningful. There are hilarious shot of the Italian couple’s astonishment when they’re told that Americans have no legally required paid vacation, or a quote from the French chef about how he’s never eaten a hamburger. The results might seem Utopian but in fact are based on practical realities.

Many of the ideas on display here seem relatively easy for the U.S. to implement, as Moore states earlier on, with the catch being that income taxes would have to increase for the wealthy. However, he makes the point that with things like medicare, free tuition, more vacation-time and more, citizens would actually wind-up wasting far less of their income on things that are considered a human right in places like Italy, Norway, France and more.

The final message of the film highlights the irony that most of the ideas he had been searching for Moore’s films have originally been American ideas. All the game-changing notions of other nations, the film notes in a wry postscript, began in the U.S. His big reveal is that Americans used to be much more caring toward one another, and that was reflected in the values we championed and the politics we practiced. How Did We Lose Ourselves? How Do We Get The Magic Back?

Michael Moore’s been among the most lucrative documentaries at the box office. His “Fahrenheit 9/11” earned $119.2 million in 2004; his last film, 2009’s “Capitalism: A Love Story,” made $14.4 million.

Pras on World Films: POLISSE

 

French actress turned director Maïwenn’s socially-minded film  POLISSE is a dramatically https://i1.wp.com/ia.media-imdb.com/images/M/MV5BNjQzNzUwNTA3OF5BMl5BanBnXkFtZTcwNDYzNjk2Nw@@._V1._SY317_.jpgcharged ensemble portrait of the French police, a collage of characters, narratives, and tones centered on a dozen men and women who work for the Child Protection Unit in Paris. It is packed with raw, visceral performances from an accomplished cast.This raucous, close-knit group, which goes after molesters and abusive parents, and finds shelters for unwanted children, is constantly in action. Its emotionally grueling work seeps into its members’ often-chaotic home lives. POLISSE was a winner of the Jury Prize at the Cannes Film Festival and one of the most successful films of 2011 in France,  POLISSE was nominated for 13 Cesar Awards including Best Film, Director and 6 individual acting nominations for its phenomenal ensemble cast.

Though it is a fictional feature (written by Maïwenn and Emmanuelle Bercot), “Polisse” feels less dramatized than witnessed. It has a rough, ragged narrative structure and a correspondingly hectic visual style. It plows through some harsh, horrifying realities with unflinching sobriety, concerned less with social problems than with facts and in the process illuminates French society with a toughness and fidelity that few other recent movies have dared. The film uses actual events from the files of a real-life police unit, and the gritty realism is evident throughout the film. It aims for a picture of the underbelly of life that is at once broad and biting, and it is successful most the time. Though the cases we see – molestation, exploitation, heartbreaking poverty – are gripping, the main focus of this drama is the officers themselves.

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 Maïwenn has gathered an accomplished ensemble cast of French actors—including Polisse (movie) Maïwenn as Melissa in ``Polisse.''Karin Viard, Marina Foïs, co-writer Emmanuelle Bercot, Nicolas Duvauchelle, and rapper-turned-actor Joeystarr—who convey the emotional strain of the unit’s work with gritty realism (the director herself plays the role of a photographer embedded within the unit).  Poliss covers much ground, and even with its loose threads and frenzied structure, it convincingly jumps from laughter to tears and back again, never losing sight of the brutal realities at its core.

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The cases these officers deal with — parents who sexually abuse their children or force them to commit crimes; children who do terrible harm to themselves and one another — routinely expose the foulest aspects of human nature. The members of the Child Protection Unit must also contend with bureaucratic intransigence, petty corruption and perpetual competition for scarce resources. And also, once they leave work, with messy marriages, tumultuous friendships and the ordinary pains of adulthood.

One of the themes of “Polisse” is the fundamental benevolence of the state, an idea alien to American viewers. The idealism that Maïwenn detects beneath the grit is nonetheless disarming. Instead of overt displays of heroism or resistance, there are the satisfactions and frustrations of difficult labor in a righteous cause.

Another theme, one that emerges through scenes that are especially painful for being utterly matter of fact, is the pervasiveness of violence, sexual and otherwise, against girls. Polisse (movie) A scene from ``Polisse.''An officer is so spooked by cases of incest and molestation that he has difficulty giving his own young daughter a bath. One of his colleagues, a woman from a Muslim background, explodes in rage at a smug imam who plans to marry off his underage daughter. An upper-class father, arrested for raping his daughter, is almost boastful about what he has done. There are boys who suffer too, but “Polisse” makes a devastating, empirical argument that female children are especially vulnerable.

From its opening scene, in which a little girl tells one of the officers, Chrys (Karole Rocher), that her father sometimes “scratches her butt,” the film presents the difficulties in distinguishing truth from speculation in child sex abuse cases, especially when kids and parents offer conflicting testimonies, or take issue with police workers poking into their private lives. Maiwenn and co-writer-star Emmanuelle Bercot insert a number of such interrogations throughout the story, and they run the gamut from disturbing to hilarious to downright tragic, especially in one emotional wallop of a sequence where a little boy is separated from a mother who can’t provide him adequate shelter.That moment occurs about midway through the movie, and that fact that it runs on for longer than expected is Polisse (movie) A scene from ``Polisse.'' revealing of Maiwenn’s approach to such uneasy material. Instead of playing scenes safely via evocative cutaways or trying to up the cute factor whenever a kid appears on screen, she allows – like fellow French directors Abdellatif Kechiche or the late Maurice Pialat – for the intensity of the situation to take over in all its rawness. Another prime example is a late scene between two officers and sometime buddies, Nadine (Karin Viard) and Iris (Marina Fois), whose explosive office shouting match is something to behold.Very much like David Simon’s Baltimore-set HBO series, Poliss concentrates on the strain the job puts on policemen and women who deal day in day out with hard knocks cases and bureaucratic pigeonholing, and how that affects their generally chaotic home lives. In fact, all of them, including Melissa (Maiwenn), the timid photographer who’s been commissioned by the Interior Ministry to document the unit’s activities, are undergoing either a divorce, a separation, or are defiantly and unhappily single.

While these cops work very hard to mend other peoples’ nightmares, they are unable, through the sheer exhaustion of their métier, to take care of themselves, relying on each other for all kinds of support, friendship, or, in a few instances, love.Their work hard, play hard attitude is best exemplified by Fred (Joeystarr), a wiry cop whose estrangement from his own daughter makes him take every case to heart, putting him increasingly at odds with a superior (Frederic Pierrot) who caves in too easily to the power above.

Polisse Movie PosterThe film is designed to look as if it were haphazardly put together, with quick editing, a huge load of characters, and cases that weave in and out without resolution. At times, this style is quite immersive.  If the film suffers from anything, its still the writers’ choice to shove in so many plots, subplots, and episodes within its limited running time, and the finale especially takes a turn that doesn’t seem warranted by what preceded it. Because we haven’t had much chance to live with her story, her end feels inexplicable.  On the other hand, the film’s style doesn’t allow scenes and characters to unfold in anything like real time or even narrative time, causing an abruptness that undermines the storytelling. This is most evident in the ending, when an officer suddenly commits suicide.

Despite these, Polisse is a powerful document of how people deal with impossible situations. It is a brilliant example of how to show the strengths of an ensemble cast. It sustains the feeling of never-ending struggle that clearly hounds its characters, yet manages to do so without losing a certain cigarette-smoking, meal-enjoying languidness that seems unmistakably French.Whether performances were improvised or not is unclear, but they’re reigned in enough to feel polished and real. Ditto for the tech, which feels free and un-mannered as it captures the grittier neighborhoods of northeast Paris, though it never drops to the handheld quirks of many a young director.

Polisse (movie) A scene from ``Polisse.''“Polisse” feels a bit like a season of television compressed into a little more than two hours. (This theatrical cut was reportedly culled from nearly 150 hours of footage.) The action also veers now and then into melodramatic overstatement, in particular toward the end. But the messiness of the film seems appropriate to its subject, which is the attempt to bring at least a measure of order — and even a touch of grace — to a chaotic and frequently ugly reality.

POLISSE:         Directed by Maïwenn; written by Maïwenn and Emmanuelle Bercot; director of photography, Pierre Aïm; edited by Laure Gardette and Yann Dedet; music by Stephen Warbeck; production design by Nicolas de Boiscuille; costumes by Marité Coutard; produced by Alain Attal; released by Sundance Selects. In French, with English subtitles. Running time: 2 hours 7 minutes. This film is not rated.

WITH: Karin Viard (Nadine), Joeystarr (Fred), Marina Foïs (Iris), Nicolas Duvauchelle (Mathieu), Maïwenn (Melissa), Karole Rocher (Chrys), Emmanuelle Bercot (Sue Ellen), Frédéric Pierrot (Balloo), Arnaud Henriet (Bamako), Naidra Ayadi (Nora) and Jérémie Elkaïm (Gabriel).

Pras On WorldFilms: HABEMUS PAPAM (“We Have A Pope”)

HABEMUS PAPAM” — Latin for “We Have a Pope,” the expression with which the election of a pontiff is announced — is a surprisingly gentle comedy about a cardinal (played by 85-year-old French actor Michel Piccoli) who suffers an attack of stage fright when he is chosen as the next pontiff. 

The film is an examination of the holiest of holy cows, the papacy.  Moretti’s conception of the Holy Father is a man weighed down by the immensity of his burden, who must reconcile human fears with spiritual responsibilities, and who is drawn equally to the life of the world and the life of the mind.

The film begins in the opulent quarters of the cardinals’ conclave as they gather and vote in secret for the one in their midst who will be the next Pope. We follow the 108 cardinals gathered together as they enter the papal conclave to make the vote.

As they gather round to cast their votes, we hear their inner thoughts and one thing becomes clear: none of them want the job. It’s a huge job, and a tremendous responsibility and as most are elderly and comfortable with their routines in their respective parts of the world, not many are eager to find their life uprooted. The first round of votes seem to point to Gregoire (who the media believes is the frontrunner) getting elected but in a final vote, the tide shifts totally and to the unknown Melville.  He is rightly stunned. As his colleagues surround him, he officially accepts the position. Officials hurry to present him to the crowd and just as the moment arrives, the new Pope exclaims in anguish and runs back into the nooks and crannies of the Vatican. Unable not only to face the throng waiting to see their new Pontiff, Melville himself is unconvinced that God has given him the tools and faculties he needs to do the job. He’s simply not ready.

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Panic-stricken, he flees the Vatican to wander the streets of Rome, where he meets shop-girls, bakers, cafe workers and a band of Chekhov-spouting actors. But desperate times call for desperate measures and a psychoanalyst (Played by Moretti, taking a role in his own film) is brought into the Vatican to try and counsel the reluctant pontiff. The key word here is try. Unfortunately, he can’t be left alone with the Pope to truly talk out their problems. Psychology is seen as being counter to the teachings of the church (a subconscious and a soul can’t coexist, it seems) and it doesn’t matter anyway as he is constantly surrounded by the other cardinals, their first and only meeting is superficial and not very helpful. Asking why he was even bothered to be called up, he is simply told that he was considered “the best” in his field. So, what do they do? They seek out the second best, who just happens to be Moretti’s wife.

Back at the Vatican, the Pope’s runaway is kept secret. Charged with damage control is the Vatican’s PR maven (Jerzy Stuhr). He arranges for a Swiss Guard (Gianluca Gobbi) to occupy the Pope’s room and open and close the curtains as if he were there. As the Pope still hasn’t been seen by the public and due to the sensitive nature of what is going on, Moretti is remanded to the Vatican grounds to hang with the cardinals until everything is sorted out. Then, in secret, the Pope is taken into town to see the second best psychoanalyst. This session is much more successful mostly because the Pope can talk a bit more freely (but still can’t reveal who he is). But getting what he can off his chest does wonders and he leave the analyst’s office, decides to take a brief walk and uses the opportunity to shake the security detail on him and escape into the streets.

Some of the film’s more humorous moments come from the absurdity of the charade staged to convince the cardinals, and everyone else, that the Pope is recovering in his filmjournal/photos/stylus/1325248-We_Have_Pope_Md.jpgapartments, saying his prayers, and empty trays of food are brought forth to prove that his appetite is vigorous. Meanwhile, the cloistered psychoanalyst draws closer to the cardinals, playing cards with them, discussing faith and eventually, he forms teams and organizes a volleyball tournament under the guise that the Pope could use the show of strength from his cardinals (though one suspects that boredom is quickly settling in for the civilian doctor, who would like to leave). And while all this is happening, the Pope is among the citizens who have no idea who he is, as he tries to work out if actually being the Pontiff is something he wants, or is capable of doing, and though unspoken, he wonders if turning to faith for his whole life has fulfilled him. Having disclosed his interest in the theatre (Melville studied acting but failed auditions), the Pope also tags along with a traveling troupe staying in his hotel and gets to show off some Chekhov dialogue. He even buys a box seat at a performance, but a gaggle of cardinals are also in attendance and complicate matters.

Probably the most controversial film screening at the 64th Cannes Film Festival, thanks to the usually virulent reaction that anything that is even remotely anti-religion tends to get these days, Habemus Papam is director Nanni Moretti‘s latest irony-laced film, which takes a stab at the institution of the Vatican. “ This isn’t new territory for Moretti, who follows up 1984′s religious satire The Mass is Ended, with this look at the Vatican’s attempt to elect a new Pope, which remarkably is also the Italian director’s sixth film in Competition at Cannes over the years.

Moretti’s premise is enticing, almost brilliant. One pope dies, and the conclave to elect his successor settles on Cardinal Melville, played with perfect mournful sensitivity by 85-year-old Michel Piccoli.  Moretti pulls off a tremendous opening set-piece, in which the assembled cardinals cast their votes for one of their number, each and every one praying they don’t get the nod, aware of the crushing effect that the pontificate would have on their lives. It’s at the very moment when the cry of “habemus papam” – “we have a pope” – goes up that Melville’s self-doubt surges out of control; in a great howl of fear, he refuses to step out onto the balcony, and throws the papal selection process into limbo.

We are all set for a King’s-Speech style encounter between a great man and his teacher, whose relationship will define the other and provide both with an emotional journey. But Moretti has his pope suddenly scoot off into the big city, there to wander through the quotidian realities in a long dark night of the soul, in which he must wrestle with his doubts alone. Analyst Moretti is left behind in the Vatican, there to play cards with the cardinals and arrange the aforementioned volleyball tournament. With the two men apart, the film starts to meander, hopping between scenes with no particular connection, and thereby losing much of its narrative focus.  That’s not to say much of what remains isn’t valuable and funny. Moretti is a loose and entertaining presence as he tries to keep order in the cloisters, and Piccoli is always thoughtful and humane as his troubled soul pushes him from bakery to theatre to hotel. There’s something of Christ among the people about him, especially in one particularly moving scene when he rehearses his doubts aloud on a crowded bus.

Moretti deserves respect for not simply taking a hatchet to the papal office; it’s an easy target in the aftermath of the abuse scandals and most directors would be unable to resist. HABEMUS PAPAM wants to emphasise the human consequences of a great religious office, and in that it succeeds.

Margherita Buy Actress Margherita Buy attends the "Habemus Papam" premiere at the Palais des Festivals during the 64th Cannes Film Festival on May 13, 2011 in Cannes, France.

“Habemus Papam” ends with a speech, but it’s not the rousing, crowd-pleasing, tear-jerking, let’s-go-get-em stuff of “The King’s Speech.” Instead, it’s bracing, honest and even a little shocking and it ends the film on a question, but not for the audience. The question is pointed directly at the church that more or less asks if total devotion to God is worth abandoning other more Earthly passions for and if so, if that trade-off is even right or fair. The keystroke to the success of Moretti’s film is that the thematic push-and-pull rides under the surface of what is a very often funny film. The laughs are frequent, but never mean.

Nanni MORETTIMoretti isn’t interested in condemning the church, or judging the choices of his characters in the past, but only asks if now, those decisions were fruitful. “Habemus Papam” succeeds where “The King’s Speech” didn’t, because the stakes are much more personal and real, and when the film ends, Moretti realizes that one speech is only just the beginning of a life unraveled that is slowly coming back together.

CREDITS

  • Nanni MORETTI – Director
  • Nanni MORETTI – Screenplay
  • Francesco PICCOLO – Screenplay
  • Federica PONTREMOLI – Screenplay
  • Alessandro PESCI – Cinematography
  • Esmeralda CALABRIA – Film Editor
  • Alessandro ZANON – Sound

CAST

  • Michel PICCOLI
  • Nanni MORETTI
  • Jerzy STUHR
  • Renato SCARPA
  • Franco GRAZIOSI
  • Margherita BUY
  • Dario CANTARELLI

Cannes 2011: Habemus Papam