When Christians use cinema to share the conviction of their beliefs, we get what is known as a “faith-based movie.” But what do we call the opposite? What can be made of a film born of skepticism, which approaches religious institutions from a place of fundamental doubt, further complicating the matter through the inclusion of ambiguous miracles? Swiss director Simon Jaquemet’s coolly intellectual “The Innocent” is such a movie. It dedicates nearly two hours to questioning the kind of evangelical Christianity that a woman has used to cope for the past 20 years, only to end with a moment in which her prayers are answered before our eyes.
The woman in question is named Ruth, which can be no accident, considering how her experience loosely echoes that of the Old Testament character, a widow who accepted God and was rewarded with a new husband. Along similar lines, this Ruth (played...
The woman in question is named Ruth, which can be no accident, considering how her experience loosely echoes that of the Old Testament character, a widow who accepted God and was rewarded with a new husband. Along similar lines, this Ruth (played...
- 10/1/2018
- by Peter Debruge
- Variety Film + TV
Religion, science and morality are some of the key ingredients of The Innocent (Der Unschuldige), though this dark Swiss drama’s insistence on keeping the audience guessing at all times finally makes it impossible to say anything unambiguous about any of these topics. Though certainly ambitious and well-performed across the board, this has to be considered a bit of a letdown from the clearly talented Swiss-German writer-director Simon Jaquemet. The Innocent premiered in Toronto in the Platform competition and also screened at San Sebastian, where his well-received debut, Chrieg, premiered in 2014.
Ruth (Judith Hofmann) works in a ...
Ruth (Judith Hofmann) works in a ...
- 9/27/2018
- The Hollywood Reporter - Movie News
Religion, science and morality are some of the key ingredients of The Innocent (Der Unschuldige), though this dark Swiss drama’s insistence on keeping the audience guessing at all times finally makes it impossible to say anything unambiguous about any of these topics. Though certainly ambitious and well-performed across the board, this has to be considered a bit of a letdown from the clearly talented Swiss-German writer-director Simon Jaquemet. The Innocent premiered in Toronto in the Platform competition and also screened at San Sebastian, where his well-received debut, Chrieg, premiered in 2014.
Ruth (Judith Hofmann) works in a ...
Ruth (Judith Hofmann) works in a ...
- 9/27/2018
- The Hollywood Reporter - Film + TV
San Sebastian — Pablo Fendrik’s “Hermano Peligro,” Jayro Bustamante’s “La Llorona,” Matthias Huser’s “The Jungle” and Clara Roquet’s “Libertad” took one prize a piece at San Sebastian’s 7th Europe-Latin America Co-Production Forum, which wrapped Wednesday night.
Meanwhile, “The Sharks,” the first feature of Uruguay’s Lucia Garibaldi, swept San Sebastian’s Films in Progress.
While awards in the past have sometimes gone to little-known projects, this year saw plaudits shared by four of the strongest projects at the market in terms of director reknown, prestige producer backing or even, in the case of “La Llorona,” a sales market deal.
Winner of the Co-production Forum Best Project Award, “Hermano Peligro,” for instance, comes from a director. Pablo Fendrik, whose first three films, “The Mugger,” “Blood Appears” and “Ardor” have all been selected for the Cannes Festival, before he went on to co-direct two of the most distinguished...
Meanwhile, “The Sharks,” the first feature of Uruguay’s Lucia Garibaldi, swept San Sebastian’s Films in Progress.
While awards in the past have sometimes gone to little-known projects, this year saw plaudits shared by four of the strongest projects at the market in terms of director reknown, prestige producer backing or even, in the case of “La Llorona,” a sales market deal.
Winner of the Co-production Forum Best Project Award, “Hermano Peligro,” for instance, comes from a director. Pablo Fendrik, whose first three films, “The Mugger,” “Blood Appears” and “Ardor” have all been selected for the Cannes Festival, before he went on to co-direct two of the most distinguished...
- 9/26/2018
- by John Hopewell and Jamie Lang
- Variety Film + TV
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