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Stay in that zone too long and there’s a danger of forgetting how to have a simple conversation or make a phone call, of going a little feral. Making anything of value-a work of art, a poem, a solid piece of furniture-demands a deep descent into the self, to the point that it’s easy to neglect the needs of others in your orbit.
But in surfing the wave of Brontë’s unknowability, O’Connor ultimately reaches a kind of emotional truth, one that chimes with the ideas this enigmatic writer folded into the prose of her only book. Is this really how Wuthering Heights came to be? Almost certainly not. But the spark that truly ignites her imagination is an intensely erotic but ill-fated love affair with the young curate hottie, William Weightman (Oliver Jackson-Cohen), who has come to assist her father in the parish. Emma Mackey plays Emily, the sheltered and eccentric daughter of an uptight Yorkshire curate, growing up with siblings-including the competitive, passive-aggressive Charlotte (Alexandra Dowling)-who help shape the writer she’ll eventually become. But Frances O’Connor’s directorial debut, which blends fact with fanciful fiction, paints a haunting and sympathetic portrait of the person Emily Brontë might have been. We know very little about the woman who wrote Wuthering Heights, one of the great gothic novels, a story of melancholic obsession and of love that seeps into the soil of the grave.
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This is a movie about how the most joyful moments of our lives are sometimes entwined with the worst, a state of uneasy grace that’s as close as you can get to a happy ending. It doesn’t matter that Georg has always been a little distant as a father Sandra must still do her best to care for him, whatever “her best” might be. She needs some joy in her life: her father, Georg (Pascal Greggory), suffers from a neurodegenerative disease that has already robbed him of his sight and is now, increasingly, blurring his mind. She’s been alone for a long time, but she tumbles into a kind of happiness after a chance encounter with an old friend, Clément (Melvil Poupaud), turns into an illicit affair. Léa Seydoux is Sandra, a widowed translator living in Paris with her eight-year-old daughter. But it’s also about the difficulty-and the necessity-of tending to our own emotional lives even as we’re looking after others.
Writer-director Mia Hansen-Løve’s delicately shaded One Fine Morning deals with the wrenchingly mundane nature of caring for those who used to take care of us. Somewhere between the right and the wrong decision is the choice we learn to live with, a sea of joy and sadness and everything in between. The movie ripples with the quiet melodrama of real life, the way big things often happen in the margins, and small things gradually come to mean the world. There are no villains here no one lashes out or behaves badly. Song has said the story she tells in Past Lives is semiautobiographical, and that’s easy to believe. When Hae Sung shows up in New York, Nora begins to wonder if she’s made all the right choices in her life, asking the kinds of questions that can knock anyone’s world off its axis. She’d been close friends with him in childhood, before she and her family emigrated from South Korea to Canada they’d reconnected briefly as adults, if only via Skype, but a romance seemed impossible. In Celine Song’s extraordinary debut film, Nora ( Greta Lee), a playwright living in New York, married happily enough to fellow writer Arthur (John Magaro), finds her world rattled when a man from her past, Teo Yoo’s Hae Sung, suddenly re-enters her orbit. Malanda’s radiantly somber face, held by the camera with a kind of inquisitive tenderness as she tells her story on the stand, is the heart of the picture. This is a perceptive and delicately unnerving work, a reflection on the way humans can instinctively reach out to one another even across seemingly uncrossable chasms. But as she listens to Laurence’s story, she begins to see the web of experience and feeling that connects her with her subject. Rama’s plan is to gather material for an updated retelling of Medea.
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Rama (Kayije Kagame), a professor and novelist, travels from Paris to the town of Saint-Omer to attend the trial of a woman named Laurence Coly (Guslagie Malanda), accused of an unthinkable crime that she doesn’t deny. From that story, Diop has extracted a picture that’s both poetic and compassionately direct. French documentary filmmaker Alice Diop’s first fiction feature is based on a real-life French court case involving a Senegalese immigrant who left her 15-month-old daughter on a beach to die.
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