Directed by celebrated artist-turned-filmmaker Julian Schnabel, The Diving Bell and the Butterfly is the true story of French journalist and fashion editor Jean-Dominique Bauby (Mathieu Amalric), who suffered a devastating stroke at the age of 43. Almost completely paralyzed by what is termed “Locked-in Syndrome”, Bauby was left with only the operation of his left eye intact, leaving him forced to communicate via partner-assisted scanning (selection of each letter of the alphabet via blinking). Ultimately, Bauby employed this painstaking procedure to dictate his own memoir “Le Scaphandre et le Papillon”, which became a number one bestseller in Europe. The film alternates between Bauby’s interaction with his visitors and caretakers (including the dictation of his book) and his own dream-like fantasies and memories of his life prior to paralysis. With the title, Bauby uses the diving bell to represent his self-perceived state of isolation, akin to a deep-sea diver encased in an oxygenated chamber, and the corresponding butterfly to represent the freedom he enjoys as he often journeys quite magically through his own mind’s eye. It’s a somber yet engaging film full of heart and vision, featuring wonderful performances by the entire cast across the board.
Beautiful story-telling and powerful acting boost the story of an Iranian man returning to France to finalize his divorce. He finds that his wife has a new lover. A lot more happens that I wouldn't want to spoil for you, the film is in fact directed by Iranian legend Asghar Farhadi, so expect twists and subtleties you're probably familiar with from A Separation or About Elly. That said, The Past remains to some extent different from his previous work since it focuses on romantic relationships, failed ones, and the toll they take on the humans involved. Learning about the characters is a lot like meeting them in real life and hearing their stories: it's hard to take sides or tell who's wrong - you'd rather stay silent and try to make sense of it all.
This French film, written and directed by the filmmaker Sylvain Chomet, is in the strictest sense an animated foreign comedy film but it is unlike anything I have ever seen. It has a unique surrealist animation style that manages to stay oddly grounded. In other words, it wasn't some psychoactive drug trip but more like taking a look at the world through Salavador Dali's eyes. However what struck me the most while watching this film was how everything was animated to extenuate ugliness and imperfection. None of the surroundings and characters look like you see in most animated films, either hyper-realistic or like unblemished porcelain dolls; everything is drawn with blatant, over-exaggerated, and warped features. These features define each character as well as instantly evoking what thoughts and feelings the director wants you to associate with them. The characters' exaggerated features also allow the film to progress without almost any actual dialogue. Contextual clues and facial expressions were more than enough to conduct entire conversations as well as progress the story line without ever saying a word. This makes the movie accessible to people of all tongues without the subtitle stigma that many people have with watching foreign films. In conclusion, while this film is not for the causal movie watcher, it is still a beautifully imperfect work of hand-drawn art that is an experience that goes far beyond mere entertainment.