Lourdes (U)

Film

Drama

LOURDES01.jpg

Time Out rating:

<strong>Rating: </strong>4/5

User ratings:

<strong>Rating: </strong>3/5
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Time Out says

Tue Mar 23 2010

Austrian director Jessica Hausner, once a pupil of Michael Haneke (and credited on imdb.com, not very flatteringly, as ‘script girl’ on ‘Funny Games’), takes her cameras to the French Pyrenean pilgrimage site of Lourdes for her third film, a mysterious, French-language ensemble piece about the role of miracles in the modern world. Hausner’s focus is on a youngish French woman, Christine (Sylvie Testud), one of a large group of pilgrims being shepherded around by Lourdes’s Order of Malta volunteers, a gang of young helpers dressed like fascists moonlighting as members of the St John Ambulance. But Hausner is wary of focusing too much on Christine, preferring to give equal billing to Lourdes itself and her wider group of pilgrims.

The characters are scripted, but the places are real, and part of the film’s thrill, especially when coupled with Hausner’s often inscrutable attitude towards the place, is to watch her drama unfolding in such a location, both creepy and magical, dour and uplifting. Hausner has been given a privilege and she uses it wisely.

Gradually, though, the drama tightens around Christine, whom we observe at closer quarters than the others. She is frail, pretty and blonde; she’s also living with multiple sclerosis and is unable to move her body below the neck. Christine’s religious beliefs are unclear (‘I prefer the cultural trips,’ she says) but the pilgrimage is having a strange effect on her and soon she’s the focus of everyone’s attention. Are we witnessing a miracle? Is Christine manipulating the situation? Is she really ill? And are we cruel even to entertain that last thought?

The beauty of Hausner’s film is that just when you think she’s going to take a sneering swipe at Lourdes, its tacky trinkets and deluded visitors, the film takes a much less easy – and more inquiring – turn. Like Haneke, Hausner is more comfortable opening a debate than closing it. Some things are clear, though. Her photography is exquisite, evoking religious icons, and her mastery of directing such a group of actors at this exceptional location allows the film to maintain a strong ensemble feel while never losing sight of the mysterious story at its core. There’s also a delicious streak of black humour that runs through the film and stops it from becoming too pious or maudlin. The result is a provocative and surprising pleasure that may persuade even the most hardened rationalists to reconsider what religion means as a sanctity to those who have few other choices in life.
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Release details

Rated:

U

UK release:

Fri Mar 26 2010

Duration:

99 mins

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Comments & ratings

Rated as: 3/5 (6 ratings)
  • I too, agree that she was given the ultimate gift from God, only to squander it within such a short time after being healed. And remember the woman at the party who remarked that maybe God wasn't in control? Yet clearly He was-the Lord giveth, and the Lord taketh away apparently in this case, to one who was perhaps less deserving .Many of the faithful who had been coming year after year with no miracle of their own, resented Lea, who was obviously not as pious as they were, and would make callous remarks about her behind her back. Is that so Christian either? Alot of food for thought this movie gives the filmgoer, from many different aspects.

    megan fessak Wed Jan 30
    Rated as: 4/5
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  • Some films make me feel violated. The French, especially, portray an immoral world stripped of all illusions about meaning and love. Watching Lourdes, I was alternately watching for mockery of a site that I as a devout Catholic hold sacred and being caught up in the story. When it became evident that one of the characters, a young woman with MS, was going to be healed, I steeled myself and sent up a quick prayer that the film wouldn't end with a cynical twist. But it did. Jesus said to one person He healed, "Your faith has saved you. Go and sin no more." But this young woman used her healing as an opportunity to sin. Within a day, she had seduced her caregiver's lover. While she was dancing with the amoral young man later that evening, she was starry eyed, but he clearly was not. Then she suddenly fell. Within minutes, he had walked away from her with a feeble excuse, and within another few minutes she slowly sank back into her wheelchair. Cynics will probably see the loss of her healing as a proof that such healings are not real. I see the loss of her healing as possibly the consequence of her spending the 1st hours of her new life in a sinful dalliance.

    Roseanne Sullivan Tue Nov 13 2012
    Rated as: 1/5
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  • TO TVDL: YOU JUST MENTIONED ONE OF MY FAVOURITE FILMS EVER: MY DINNER WITH ANDRE. I'M HAPPY THAT SOMEBODY ELSE ENOYED THAT MOVIE.

    alfredo Sat May 21 2011
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  • This film has a wonderful texture and a calm acceptance of life: neither criticising nor too enthusiastic. For once you have the feeling that th camera watches and captures but doesn't judge. One of the further rewards is an interview with the main actress. It was a delight to listen to someone so searching, so full of life and intelligence;a big ego in a small package, strongly opinionated but aware of her own foibles. Great cinema and reminded me of My Dinner with Andre.

    TvdL Sat May 21 2011
    Rated as: 4/5
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  • JohnR couldn't be more accurate.

    ALFREDO Fri Apr 16 2010
    Rated as: 4/5
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  • I read and agreed with most of Dave Calhoun's review of Lourdes but was there a typing error in the final sentence? Surely it should read 'sanctuary' instead of 'sanctity' ?

    amiller Fri Apr 16 2010
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  • THIS IS A MOVIE ABOUT THE MORBID CATHOLIC CULTURE OF MIRACLES. ABSOLUTELY FASCNATING AND DISTURBING. I HAVE BEEN IN LOURDES SO I CAN SAY THAT IT REFLECTS VERY WELL THE ATMOSPHERE. THE END IT'S THE ONLY POSSIBLE ONE. A GREAT FILM BUT NOT MUCH FUN.

    ALFREDO Thu Apr 1 2010
    Rated as: 4/5
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  • wHAT STRUCK ME ABOUT THE FILM WAS THE LACK OF EMOTION AND CHRISTINES RESPONSE TO THE HEALING.LOVE AND AFFECTION SEEM TO BE THE NEEDS OF ALL PEOPLE AND THE ENDING WAS QUIT PROFOUND WHEN SHE WAS LEFT ALONE BY THE HELPER SHE HAD MADE KNOWN HER AFFECTIONS TO.HEALING OF THE BODY OR OF THE SOUL.WHICH WOULD YOU PREFER FIRST?

    LIANNE LYNE Thu Apr 1 2010
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  • An interesting oddity of a film.Sylvie Testud is as usual highly watchable.The madness of human nature in it's ability to believe the ridiculous, is well shown here.The film drives along with very little narrative,instead relying on the main character's tender heart to guide us through.However the last 3rd of the film,becomes ludicrous and too sentimental.It makes a parody of itself.The screen writer could maybe have done a bit better.All in all,a curiosity that works quite well,but has too many imperfections to merit the plaudits it has been given comment you type in this box will appear on the site

    david glowacki Mon Mar 29 2010
    Rated as: 3/5
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  • A beautiful and truthful film. Hauser asks many profoundly human questions (see above) and while she doesn't - thankfully - provide any answers (you must live the questions until you can live the answers - Rilke) she hints at why all those people are seeking miracles in the first place: they are all longing to escape their isolation and thus find fulfillment and happiness in communion with others. The miracle, the priest says, is a sign that "we are not alone". But the real sign of this - that everyone seems blind to in their respective sicknesses of soul - is the love of some people for others - like the girl's motherly room mate who is there for her equally at every moment - beginning, middle, and end of the story. Ironically, if Hauser is indeed an atheist, the film points to the heart of what attracts many to Christianity: the name of the Christian God is Emmanuel, which literally means, "God-is-with-us". (John 13:35) As a Catholic, I wish more atheists would made such films!

    JohnR Wed Mar 3 2010
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