LAurrence is a woman who desperately needs human kindness. Gray head patients urge her psychiatrist to hug and pool. However, such a simple gesture is impossible in the ward in the Esquirol Hospital Center in Paris. “I gave yogurt jars when I asked for a hug,” Laurence said.
This scene is hard to see everything you can see on this year’s movie screens in a new documentary of Nicolas Philibert in Averoès & Rosa Parks (two sections of the ESquirol Hospital Center). But it’s probably particularly amazing in the world’s excellent humanist documentary producers. French Fili Burt is one of the great kind champions of modern films. 74 years old, he created a portrait of observations that were excellent in caring for caring in the hostile modern world. Southern French schools for those with hearing impairment in 1992; Those who gave their lives to maintain the inside of the museum and the Louvre City (1990) and the animal and animal (1995); In 2001, an international filming film, être et Avoir, a single teacher in the rural Overgen area.
PHILIBERTISM was his 2023 Golden Bear’s doctor for a job therapy center anchored in a decisive poet. distinction: A film about a place where it is healed because it meets the simple ideals of treating patients with people. However, some of the passengers in subsequent actions are searching for a bad day. It is a movie about a place where healing never happens.
Philibert said, “In Adamant, many workshops and group meetings are filmed.” Averroès & Rosa Parks has more atmosphere and architecture, so the space is more limited. When the patient is in the hospital, they are more vulnerable, more painful, and overwhelmed by anxiety. Life is trapped in hell. “
The movie about the floating day care center has become a crowdplayer. This is because they were able to describe potentially unforgettable places as more similar to the elite organs for external artists (the name, the name of the name of the British postpunk singer in his names, his bipolar disorder is no coincidence). But during the shooting, Philie Burt realized: As a result, “Triptych” was first screened in the UK for the first time in Bertha Dochouse Cinema, London, next weekend.
The third of the third film, typewriter and other headaches (to see in any order), still injects the director’s typical humanism. Adamant’s caregiver shows how to visit the patient at home to fix broken typewriters, printers, and record players to fix the broken machine and the wicked link to the outside world.
And if the repair work is not seen in Averoès & Rosa Parks, it is not a lack of a caregiver. The hospital staff, which is entirely composed of a dialogue between mental health patients and psychiatrists, shows special empathy in dealing with people with serious conditions. We have heard that they are polite with Olivier, who are confused about family relationships, and that the daughter of other people is his daughter and the grandfather is in the hospital in the form of another patient. We see that they listen to the slaves suffering from the “Megalo Nia”, which are the conditions raised by practicing arts, making arts, practicing Buddhism, teaching philosophy, teaching philosophy, and swallowing a small number of mountains at the Teenager Trans -Festival.
But the fact that this conversation is relaxing always has a hidden meaning. One patient, Pascal, tells his caregiver that a great psychiatrist is like Kylian MBAppé. French footballers are famous for clinical finishing. But when he considers the top of his league when listing the name of a psychiatrist, he mentions the woman he says and then omits it to speak completely in the conversation. Laurence’s psychiatrist went on the road extremely to claim fear to hurt her and steal her. But she said, “I don’t believe you, he doesn’t retaliate -there is a camera rolling, but he can’t stop hurt his face.
Philibert said, “I wanted this second movie to be based on speeches and listening, because there are two types of almost extinction in the spirit and the world.” Public hospitals in France and other places are abandoned by public power. It is translated into the deep shortage of the means and a deep tribe. Many nurses who work in psychiatry will leave because they can gradually decrease. “
At the end of the movie,,, We meet Laurence again. Her flowing locks were briefly trimmed, and she was bleeding on her fingers and burned on her face. At the moment of despair, we have fire. I wonder if the last scene is close to violating one of Philibert’s previous films. But his description of his Lawrence may seem to use her pain for a dramatic effect.
Philibert quickly reassures his ethical guidelines. “My film depends on trust,” he added. “Even if a patient or a caregiver signs a written approval, it doesn’t mean that it is immunity or legal pursuit.” He speaks in experience: After the breakout hit être et Avoir, the teacher of the center of the film tried to sue (failed) Philippy Burt as a benefit, and insisted that the success of the film depends entirely on his personality.
In the case of Laurence, Philibert insisted that he agreed before and after shooting. “‘Do you want to shoot me? Oh, you are interested in me. I’m always a side job, refusal and invisible person.”
Nevertheless, it is interesting for filmmakers to find new emotional tones in his 70’s. If the screen is cut in black at the end, and Beethoven’s ODE to Joy’s jazz guitar version is played through credit, it feels like there’s little feelings about the Fili Burt movie, Bitterness. And perhaps he will also allow his beliefs to shine more than before. In the opening scene of the movie, when the staff and the patient see the drone scene in the hospital, the noé says: “It’s scary. It’s like a prison.” PHILIBERT likes to quote the maxim of his fellow documentary, Frederick Wiseman. “If you need to drive a message home, don’t send an email and make a movie.”
“The world of psychiatric is an area of unexpected things,” he says. “If you enter all certainty, all certainty is shattered. Madmen resets all counters to zero. They force them to modify all diagrams.”
