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Fusing fact and fiction is a precarious undertaking for a filmmaker, especially when it comes to matters of clarity and credibility. And that’s where this latest offering from writer-director Kaouther Bin Hania misses the mark. This fact-based story about Olfa Hamrouni, a Tunisian single mother who loses her two eldest daughters, Ghofrane and Rahma, to the radical recruitment efforts of ISIL while trying to protect her two youngest daughters, Eya and Tayssir, from befalling a comparable fate struggles mightily to tell a coherent tale. The film clumsily mixes interviews with family members and dramatic reenactments of significant events featuring actors portraying the principals (some inexplicably playing several roles). To complicate matters, this release features an inordinate amount of superfluous material as well as seemingly important gaps in the story, often leaving viewers scratching their heads about how the narrative gets from one unrelated (and sometimes seemingly contradictory) development to the next. Add to that a relevant revelation that doesn’t appear until late in the film (with virtually no prior back story to support it), and you’ve got a patchwork accounting of what otherwise appears to be a moving and heartfelt tale that deserves greater intelligibility and a better overall delivery. What’s more, this offering includes a considerable amount of material about how this production is being put together, a modestly interesting sidebar that might make for an informative bonus feature, but the inclusion of these largely incidental segments within the primary narrative adds little and serves more to needlessly bog down the flow of the film. Given the foregoing, I’m at a loss to understand why this “documentary” (a term I use loosely) has received the amount of attention and adulation that it has garnered, especially in film festival and awards season competitions. Bin Hania has indeed established herself as a talented filmmaker in other releases (especially those of a purely fictional nature), such as the outstanding Oscar-nominated offering, “The Man Who Sold His Skin” (2020), but she seems out of her league here. That’s unfortunate since Olfa’s saga is one that appears to be well worth telling and doesn’t receive the treatment it truly deserves.
Flavia is a thirtysomething married teacher. She has suppressed the memory of her adolescent lesbian fling with Jin and is stuck in a stifling marriage. A chance encounter in a supermarket with the playful and seductive singer Yip reawakens dormant feelings and she begins to think back on her teenage affair with Jin.
Juliette is a young woman who has grown up on a farm that is now under economic siege. In order to save her farm and her family, Juliette is forced into a marriage of convenience with Marcel , a morose and laconic railway worker whom she does not even know. Now that her own life is permanently changed, her sacrifice does not ultimately help her family and with that sorrow added to her lonely existence, she is trapped into remaining married because of social pressures and soon enough, the birth of a child. There must surely be a way out for her at some point, but when and how that will happen seems completely up to fate alone.
When seminal documentarian Ed Pincus is diagnosed with a terminal illness, he and collaborator Lucia Small team up to make one last film, much to the chagrin of Jane, Ed’s wife of 50 years. Told from two points of view with vulnerability, intimacy and humor, ONE CUT, ONE LIFE challenges the form of first person documentary while offering a complex story of love, loss, legacy, and the delicacy of capturing the preciousness of life while time is fleeting.
Across a language barrier, a Turkish groom-to-be on an engagement party in Kyev meets a Ukrainian that represents the 'other woman' for a marriage there.
A young boy grapples with first love and his ambitions as a drummer during an eventful summer holiday.
A lyrical and haunting portrait of reindeer herding in the twilight expanses of the Lappish wilderness.
Two brothers set fire to a barn while drunk, inadvertently causing the death of a sleeping wanderer. One of them takes all the blame for the incident and spends ten years in prison.
During the summer of 1999, a group of teenagers, through interconnected narratives, live through their last day of high school and prepare for the future. Holly, once the new girl in school, does whatever it takes to remain popular. Dawn, who is secretly a lesbian, battles drugs. Tori is the valedictorian of her class, but, on the eve of graduation, she decides to experiment with drugs for the first time.
Shy, gentle half-wit Dennis, whose only obsession is train-spotting, is released early on account of good behavior after a rape sentence. His parents who run a modest barbershop, skeptic André and Rita, desperately try to keep him out of girl trouble, but his victim's sister Barbara starts a hate campaign. After another girl reports abuse, Dennis is jailed and beaten black and blue daily. Barbara's boyfriend, lawyer Thomas Verelst, accepts to help 'pro deo' (no cost) and pleads that Dennis belongs in a mental institution.
Life and Debt is a 2001 American documentary film that examines the economic and social situation in Jamaica, and specifically how the International Monetary Fund and the World Bank's structural adjustment policies have impacted the island.
Stephanie collapses in a pool of blood while on a school skiing trip. A doctor discovers that the blood is the after-effects of giving birth. Soon afterward, the body of a newborn baby is found in a toilet, its mouth blocked with toilet paper. Despite Stephanie's insistence that her child was stillborn and that she had no idea that she was pregnant, she is arrested for the murder of the child.
