John's family is suing for sexual harassment. To give away much more than this might have the effect of diluting what discerning movie lovers will find a singular experience. There were several instances in which the camera lingered on Tim Roth as David simply sitting or standing and thinking. A very nice episode i. She throws up or has a bathroom accident and he cleans it up with no judgment. He sends her visiting family away when she needs rest. I felt as if he could never truly forgive himself, given the prior conversations he had with others, and he felt that he could no longer live with that pain.
Why David is like this and what he gets from it is revealed as we get to know about his own desiccated private life. And to be sure, David appears to be an attentive, considerate nurse. While Mexican director Michel Franco's story about a palliative care worker may not be completely developed, his overarching theme proves to be quite illuminating as well as disturbing. We watch the transgression into these grey areas as they happen almost imperceptibly. That was honestly one of the best movies I've ever seen! Moving on, he reconnects with his immediate family.
He has a daughter Nina in college. The camera is fixed at a distance and we see David assiduously attending to Sarah, carrying her around as she is unable to walk and propping her up in the shower, as he bathes her. Roth is up for it. David's friend and former boss Isaac gets him a job with Martha. Franco perhaps is hammering us a bit too hard when the devoted healer ironically meets an untimely end himself. Having long carried a burden of guilt and remorse, David must face his past in order to heal.
In this evocative film where silence speaks more than words, Mexican director Michel Franco paints a bleak study of man. Could I be Franco with you? Not to say that there is not authenticity within the film of dying cancer patients, but its just a tough pill to swallow; especially if one of your loved ones has or has had fallen to the same health horror. In the last segment, David forms a relationship with a woman undergoing chemotherapy and ultimately facing a terminal diagnosis. The way the camera moves and the long and eerie takes throughout the film really gave this film more realism. This paints a touching, sometimes heartbreaking picture of life near its end, but with bleak mundanity and unvarnished objectivity.
We do learn the circumstances of his past in muted details. David is attentive and considerate, friendly and yet also able to make himself disappear, sitting on a sofa in the background and shrinking into himself. With a very similar character and a very same ending. Does our grown-ups busy daily life affect our ability to assess new scenarios? Deep and significant: my heart is still aching, woke up several times during the night to reflect on the scenes. Having long carried a burden of guilt and remorse, David must face his past in order to heal.
Efficient and dedicated to his profession, David develops strong, even intimate, relationships with each person he cares for. In many instances he does what he thinks is best for the patients, sometimes leaning towards the unorthodox and sometimes even outright inappropriate. Franco's portrait of David's devotion to his patients is uplifting and reminds us that we should all be more sympathetic to those facing end of life issues. It is how he has learned to deal with last stage perplexities. Later, he tells an acquaintance that his late wife, also named Sarah, was a casualty of the same disease. Cast: , , , , , , , , , Director: Writer: Rating: R Running Time: 93 min. The discomfort does not come from watching David, but when outsiders weigh in on his actions.
Anyways be ready to switch the brain on for this great work. We sense a family fissure and a lack of contact with her. . I love the film making, with so many still camera shots all the time, in the pure European or non Hollywood films style. Or is there a deeper craving at play — a desire to feel like he has control and is needed? It is quite straightforward: a nurse tends to his patients then goes on with his banal day-to-day activities.
But outside of his work, David is ineffectual, awkward, and reserved — effects of his chronic depression — and he needs each patient as David Tim Roth is an in-home nurse who works with terminally ill patients. Well, both films have workaholic main characters but the parallel solidity ends there in our opinion. The performances are great and the characters are magnificent. Produced by Gabriel Ripstein, Michel Franco, Moises Zonana, Gina Kwon. She tells him she knows about the harassment suit but still hires him.
Her niece asks him if he attends all his patient's services? At first I thought it was by accident, but then I thought of Davids pain and guilt. Out of his own sense of love, he does what he does, not some deep seated confusion. In his strangeness, there is also an implicit criticism of a society which distrust caring and would rather have a clinically detached approach. And this austerity serves the subject as David himself carefully moves and manipulates his patients for their comfort and ease. In fact there is not much dialogue either. And to think this plagiarism leads to a Cannes top award! He does not cut quickly, and always composes his shots with rock-solid perspective.
Not wanting to let his viewers off easily, the camera lingers on this awkward moment, instantly pricking our eyes up about this strange and devoted man's behaviour and motivations. For more Cannes coverage, simply follow. As he gets to know Nadia again, and begins to mend his relationship with her mother, Laura Norvind , David is offered a job looking after a woman called Marta Bartlett who has cancer. He is unblinking in what he depicts: patients who have soiled themselves being tended to with unhurried care by David, for instance. The structure is also troubling since the first part is a completely different movie than the second and third part. Don't go to see this movie if you are not in the mood to.