«Thanks be to God» and empty words

Cinema Wednesdays - Loris S. Musumeci

«Deep down, I knew; we all knew, and we said nothing.» 

The facts are now well known. For the Preynat affair, as for other cases of pedophilia involving the Catholic Church around the world. A film at the heart of current events. However, François Ozon has chosen to remain in the realm of fiction, rather than turning to documentary. Inspired directly and closely by reality, Alexandre's story, and that of other victims of sexual abuse when they were scouts in the Lyon diocese, is brought to the screen to provoke the shock needed to shake things up. To «free the word».

Pedophilia on screen

Beware, however, of taking everything for granted with such a theme. It's hard to fault a film about pedophilia. In this case, there's not much to reproach François Ozon for. Unlike Tickles released last autumn, which also dealt with paedophilia, but in my opinion from a silly, whiny and clumsy angle. And yet.., Thanks be to God would have had everything it takes to make an ideological, unrestrained and excessively anti-clerical film.

One thing is certain: this is an impressive exercise in accuracy. Even if the film does have a few shortcomings, namely some not-so-bad flashbacks, poorly accompanied either by the angelic voices of the children's choirs or by soft, fine little melodies. This overdoes the contrast between the monstrosity of the priest and the innocence of the children. The images speak for themselves, without the need for further elaboration. 

In addition, the plot's progression is laden with a certain heaviness that is not due to the serious theme, but to the exaggeratedly meditative slowness of small, everyday scenes that leave the viewer more weary than moved. I thought I understood paedophilia to be a disease: no, it's a diabolical vice that affects those whose most filthy wickedness is buried in their hearts. God will judge them, but after us.

Hollow words

Everything else is a success. In terms of acting, everyone is in his or her rightful place, different and nuanced. Among the victims are a secular priest-eater and a bourgeois. catho very pious. Father Preynat himself doesn't look so bad under his beaten-dog stare and embarrassed smile of one who supposedly regrets and asks forgiveness. Cardinal Barbarin, for his part, is confused between indignation and willingness to act, and lies and empty words.

These are the keys to the film. Hollow words. Of course, those of benevolent ecclesiastics, who say they are afflicted and throw out «I'll pray for you», «Forgiveness is at the heart of it all» or «God accompanies you on your courageous journey» over and over again. Just like the victims themselves, who try to put words to their pain by taking refuge in ready-made expressions. This is undoubtedly deliberate on the part of the script. In any case, the effect is powerful.

White light

In terms of photography, you can feel the touch of a true filmmaker. Because the white light is very revealing of the characters' state of mind. However discreet, it plunges the viewer into a nauseating atmosphere in these parish halls invaded by a white halo, where people pray for forgiveness. Conversations with Monsignor Barbarin, however benevolent, bring out the same malaise in a stifling, whitish air. In contrast, the white light of the liberating sun, when Alexandre goes out with his children, who are playing.

Finally, the two final shots are humbling. One might have expected a pompous trial, a glittering declaration, but not so. The simplicity of the Basilica of Fourvière, where we feel the figure of Mary weeping for her abused children, changes to the face of a victim, forever scarred by pain. It's enough to make you weep. It's so powerful, it sends you over the edge. After all, you're not necessarily very moved throughout the film; here, everything comes out in a mixed feeling of distress and hope for healing.

«I was a child.»

Write to the author: loris.musumeci@leregardlibre.com

Photo credit: © Filmcoopi