Les Innocentes (Anne Fontaine, Poland/France, 2016)

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A nun bribes some children to guide her to a doctor who she insists cannot be Russian or Polish. They ask for money but she has none so she gives them her rosary. They take her to the French Red Cross, find Dr. Mathilde Beaulieu (Lou de Laâge) and ask for help. Dr. Beaulieu is a working-class communist but the Red Cross is only there to help their wounded and mop up their operation before moving to the French section of occupied Berlin. It is not within the remit of the French Red Cross to help locals, indeed it would be a danger to do so amidst Polish and Soviet forces, and thus she refuses. As she wakes up the next morning, she looks outside her window and finds that the nun is still there, knees on the snow, praying to God for help.

Moved by such faith and also probably made aware of need and desperation, the good doctor decides to help. When she arrives at the convent, she finds a nun in the process of giving birth. The child’s in breech, the nun refuses to be touched, but the good doctor nonetheless manages a caesarean and mother and child are saved. Despite the nuns’ resistance, the good doctor insists on returning to provide aftercare and soon discovers that seven of the sisters are pregnant and all due to give birth almost at the same time. It seems that they were all brutally raped, young and old, first by receding German forces, then by invading German ones. There’s also an attempted gang rape of the good doctor by Soviet Forces whilst returning from the convent to the Red Cross at dawn – a narrow escape.

Thus is set into a motion a film about the brutality of men and the strength of women, about a sisterhood that exceeds the narrow range of convent walls, about mothering and children, about faith and goodness that needs no faith to exist. The Innocents is a female-centred film, feminist too. It’s largely shot in close-up and mostly within convent walls and snowy landscapes. It at times feels slow but it is the type of slowness that embeds itself in one’s mind, makes one linger on images, ponder themes, think through what the film presents and how it presents it long after the film is over. It’s a film worth watching.

 

José Arroyo

 

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