today i saw this little masterpiece about love & death at the berlinale filmfest. at the huge friedrichstadtpalast with 1500 people inside, many of them were crying. it was such a great trip the whole movie. at the end there were 10min standing ovations for the filmmakers. everyone was deep touched by the story, great acting and such good music. the music is full of pain, you could cry the whole day. camerwork is well balanced and the picture quality is really good. the editing was a big surprise. it jumps between past and present without confusing the audience. it generates many dramatic moments. chapeau felix van groeningen & team.
78 Reviews
Voyaging into Love's Danger Zones
tigerfish5021 October 2013
There are few films which depict raw emotions as powerfully as 'The Broken Circle Breakdown'. Set in Belgium, and somewhat reminiscent of 'Betty Blue', it tells of the love affair between Didier and Elise - a bluegrass musician and a tattoo artist. The story begins with the couple attending to their young daughter's needs in a cancer ward as she battles for her life against the disease. Flashback sequences portray the couple's initial meeting, Elise's incorporation into Didier's band as a vocalist, the mad passion of their early romance and the arrival of daughter Maybelle in their lives.
Back at the hospital seven years later, the child endures the toxic effects of chemotherapy, her health alternately improving and deteriorating, while the parents accompany her on this agonizing roller-coaster ride. Fracture lines appear in the couple's deep bond as atheist Didier rails against a god that could have inflicted such a cruel destiny upon the girl, while Elise struggles to hold onto hope. Somehow their epic odyssey into the deepest regions of pain is neither pessimistic nor depressing, and their story communicates profound insights about the need for love, forgiveness and understanding in extreme circumstances. By contrast, it makes most Hollywood productions look like trite insults to human intelligence. Perhaps they are - and maybe audiences should look elsewhere for authentic artistic expression. This film suggests Belgian cinema might be somewhere to start the search.
Back at the hospital seven years later, the child endures the toxic effects of chemotherapy, her health alternately improving and deteriorating, while the parents accompany her on this agonizing roller-coaster ride. Fracture lines appear in the couple's deep bond as atheist Didier rails against a god that could have inflicted such a cruel destiny upon the girl, while Elise struggles to hold onto hope. Somehow their epic odyssey into the deepest regions of pain is neither pessimistic nor depressing, and their story communicates profound insights about the need for love, forgiveness and understanding in extreme circumstances. By contrast, it makes most Hollywood productions look like trite insults to human intelligence. Perhaps they are - and maybe audiences should look elsewhere for authentic artistic expression. This film suggests Belgian cinema might be somewhere to start the search.
Refreshingly Different
barry_mooney3 December 2013
This is definitely one of those films that is best seen with as little prior knowledge as possible. I saw The Broken Circle Breakdown at a small cinema in Plymouth with only a vague idea that it had something to do with bluegrass music, of which I knew hardly anything. The music was actually very good but the film is far from a story about Belgian musicians playing American music. In fact, this is a fairly simple tale and, although told in a interesting way, there isn't an awful lot going on. However, what this delightful film manages to do brilliantly is throw up some big questions on topics such as love, life & belief that really get you thinking.
The past-present-future style works well to gradually unfold the details of what is happening. I found that this added very much to the tension and emotion of the film, not unlike Incendies (2010) which, although very different in subject matter, had a similar feel. Broken Circle is not as 'heavy' as Incendies and even has several smile-worthy moments to balance out the intensity.
I can see why some people might be upset by certain anti-religious aspects of the film but I thinks it's healthy for beliefs to be challenged. Similarly, some people seem to have been annoyed by the time-line jumping about but I think this actually works to great effect, especially if you don't know anything about the story beforehand. Overall, I would highly recommend Broken Circle; it's refreshing to see something genuinely different that generates real feelings for the characters and stays with you for more than ten minutes after the ending! 8/10
The past-present-future style works well to gradually unfold the details of what is happening. I found that this added very much to the tension and emotion of the film, not unlike Incendies (2010) which, although very different in subject matter, had a similar feel. Broken Circle is not as 'heavy' as Incendies and even has several smile-worthy moments to balance out the intensity.
I can see why some people might be upset by certain anti-religious aspects of the film but I thinks it's healthy for beliefs to be challenged. Similarly, some people seem to have been annoyed by the time-line jumping about but I think this actually works to great effect, especially if you don't know anything about the story beforehand. Overall, I would highly recommend Broken Circle; it's refreshing to see something genuinely different that generates real feelings for the characters and stays with you for more than ten minutes after the ending! 8/10
Broken Circle Breakdown brings so much to the American audience about blue grass music, about love, and about film.
christine-705-71715311 October 2013
Who would have thought that a Flemish movie could bring Blue Grass music to mainstream America? I have to start the review of Broken Circle Breakdown with the music. It was illuminating. A whole new music for me to love. Right under our American snob-ridden noses. Harmony from Heaven and a Capella perfection seemingly from under the arches of Princeton. And the lesson in banjo history delivered right from the movie's start by the actor extraordinaire, Johan Heldenbergh, gave new meaning to the poor cousin of the violin, Mr. Banjo. Did I mention the director placing that banjo intro right after one fabulous, sensuous love scene making the banjo, the man, and the woman a threesome with perfect harmony? Mostly though, the music for me made a sad, tragic tale palatable. Without it, I couldn't have stayed.
The story is not a happy one. It's about a young, innocent child dying of cancer. It's about the flame of a perfect love unable to withstand the harsh winds of life outside the circle of their love. And, it's about choices during life that are made by each of us, by ourselves, and for ourselves. Add it all up, and it's a tough movie to take without the music.
All the actors are marvelous. I am sure that had it been cast in the U.S., Harry Connick Jr. would have played Didier and Reese Witherspoon, Elise. Trust me on this, which is why foreign films are inevitably better than American films for very serious stories needing to be told. Veerle (Elise) and Johan are not perfect specimens of the human race, and their faulty teeth and imperfect thighs bring the realism to the screen that is always missing in U.S. dramas. Interestingly enough, the sex scenes are more sexy by the imperfections and their immersion in the roles far beyond what the Academy rewards here.
The movie is being submitted by Belgium for an Academy Award as Best Foreign Language Film. I nominate it now for best screenplay as well. Every word in the dialog belongs there, like a set that has nothing in it for show. And, while we are piling on nominations, how about Best Direction? The direction is steady and sure, with timing that shows it's not just comedy that needs to have a steady rhythm. Broken Circle Breakdown has perfect dramatic timing.
There is a God theme in Broken Circle Breakdown where Elise is a believer and Didier is not. It's the age old fight in us all that wants to believe but needs the proof that is never really to be found. I see it woven in, but for me, it's not what the film is about. It's about life while you are here, not about life after you are gone.
There is a moment when Elise says she should have known that love couldn't really be that generous. What a thought. That the cocoon of a perfect love cannot last because love just can't be that generous. First time I've heard love had the power to be generous and it will be with me for a long time to come. It's the stuff poems are made from.
As an American, this is the first film I can recall where I can see the outside world's version of my country, and, its fall from grace as our underbelly of political posturing sets aside that in us that could be greater still. At this particular moment in time, it makes a girl pause for a moment and lament our leaders and my poor voting record in electing them. Had to say it. Enough about politics.
I have to stick just a short sentence in here about the tattoos. Makes you want to go out and get one. According to the credits, the movie was based on the play "The Broken Circle Breakdown Featuring the Cover-Ups of Alabama". But don't think Elise used her tattoos to hide from her real self. Instead, they were adjectives in the story, side bars that showed us how she got there. They are beautiful, and I might just go out and get one that says, Be generous with my love.
Great pick Hamptons Film Festival. It was one of the first movies shown, and that's a high bar to set.
The story is not a happy one. It's about a young, innocent child dying of cancer. It's about the flame of a perfect love unable to withstand the harsh winds of life outside the circle of their love. And, it's about choices during life that are made by each of us, by ourselves, and for ourselves. Add it all up, and it's a tough movie to take without the music.
All the actors are marvelous. I am sure that had it been cast in the U.S., Harry Connick Jr. would have played Didier and Reese Witherspoon, Elise. Trust me on this, which is why foreign films are inevitably better than American films for very serious stories needing to be told. Veerle (Elise) and Johan are not perfect specimens of the human race, and their faulty teeth and imperfect thighs bring the realism to the screen that is always missing in U.S. dramas. Interestingly enough, the sex scenes are more sexy by the imperfections and their immersion in the roles far beyond what the Academy rewards here.
The movie is being submitted by Belgium for an Academy Award as Best Foreign Language Film. I nominate it now for best screenplay as well. Every word in the dialog belongs there, like a set that has nothing in it for show. And, while we are piling on nominations, how about Best Direction? The direction is steady and sure, with timing that shows it's not just comedy that needs to have a steady rhythm. Broken Circle Breakdown has perfect dramatic timing.
There is a God theme in Broken Circle Breakdown where Elise is a believer and Didier is not. It's the age old fight in us all that wants to believe but needs the proof that is never really to be found. I see it woven in, but for me, it's not what the film is about. It's about life while you are here, not about life after you are gone.
There is a moment when Elise says she should have known that love couldn't really be that generous. What a thought. That the cocoon of a perfect love cannot last because love just can't be that generous. First time I've heard love had the power to be generous and it will be with me for a long time to come. It's the stuff poems are made from.
As an American, this is the first film I can recall where I can see the outside world's version of my country, and, its fall from grace as our underbelly of political posturing sets aside that in us that could be greater still. At this particular moment in time, it makes a girl pause for a moment and lament our leaders and my poor voting record in electing them. Had to say it. Enough about politics.
I have to stick just a short sentence in here about the tattoos. Makes you want to go out and get one. According to the credits, the movie was based on the play "The Broken Circle Breakdown Featuring the Cover-Ups of Alabama". But don't think Elise used her tattoos to hide from her real self. Instead, they were adjectives in the story, side bars that showed us how she got there. They are beautiful, and I might just go out and get one that says, Be generous with my love.
Great pick Hamptons Film Festival. It was one of the first movies shown, and that's a high bar to set.
A masterpiece.
alkis24 April 2013
The bittersweet story of Didier and Elise, their child Maybelle and the blue grass music. Seeing this movie at the Berlin Film Festival I didn't expect anything in particular. What I saw was an emotional roller-coaster of a movie, beautifully cinematography, a great book, wonderful music. And oh those actors, bringing these written lines to life. It will bring even the most hard boiled audience to tears. But you will leave the cinema after that with a smile and be grateful for having witnessed the magic of movie making at it's best. Director Felix van Groeningen has made his masterpiece, I don't know how he can top that one. I am sure you will love that movie as much as I do.
infinite sadness...
steve-festen10 October 2012
I saw this movie yesterday, and must say that it's the first time that I'm really really impressed by a Belgian movie. If I had to compare it with another movie, I would say Into the Wild. Both movies are about passion, beauty and sadness. Whereas ItW has a lot more focus on beauty and passion (the sadness didn't really reach me), this one also has a lot of beauty (never knew I liked bluegrass music so much) and passion, but the sadness... oh the sadness... Half the movie you will be trying to hold in your tears. So don't expect a big story with plot twists and murder weapons; expect a story about real people, that puts your feet on the ground, and that shows you how little it would take for you yourself to end up like this. Now excuse me while I go and look for some Bill Monroe music...
Makes you dissolve in thought!
donalupe9 November 2013
Powerful depiction of a dissimilar couple who faces softest and hardest moments of life. The little effect that leaves-by everyday when one's heart don't gets what is needed is counted on in the viewers' mind, culminating up to the extreme levels which require a faintest of pokes to fell down.
Everything in this movie is a piece of art. It will make you laugh as well as sob if you're alone. For drama lovers, it's a masterpiece; just pick it if you liked Paris, Texas or The English Patient, Bonnie and Clyde or Wild at Heart..
An Oscar deserving film, cleverly edited, acted and directed.
Everything in this movie is a piece of art. It will make you laugh as well as sob if you're alone. For drama lovers, it's a masterpiece; just pick it if you liked Paris, Texas or The English Patient, Bonnie and Clyde or Wild at Heart..
An Oscar deserving film, cleverly edited, acted and directed.
A snowflake from the Sahara
rubenm28 October 2012
Warning: Spoilers
A bluegrass film from Belgium? That sounds like a snowflake from the Sahara, a kangaroo from Mongolia, a coconut from Siberia: something completely out of place. But in fact it works out really nicely. This is not a film about bluegrass, but a film in which bluegrass plays an important part: it supports the story. Just like in 'Oh brother where art thou', the only other film I know with a bluegrass soundtrack.
'The Broken Circle Breakdown' is about the young couple Didier and Elize. Didier seems to be an American born on the wrong continent: he drives a pick-up truck, sleeps in a trailer and considers Bill Monroe the greatest musician ever. Elize works in a tattoo parlour and looks the part. She doesn't know who Bill Monroe is, but she wins Didier's heart by draping her tattooed body, clad in a stars and stripes-bikini, over the hood of his truck.
The young lovers are happy and carefree, even when Elize gets pregnant. They call their daughter Maybelle (after Maybelle Carter) and move from the trailer to an old farmhouse. But then disaster hits and their lives are changed dramatically.
Director Felix Van Groeningen tells the story in many flash backs and flash forwards, but succeeds in not confusing the audience. In spite of the sometimes very dramatic developments and some emotional scenes the film contains many lighthearted and even funny moments. The bluegrass music blends in naturally: Didier is a bluegrass musician and Elize joins the band as the singer.
The use of bluegrass music was an idea from actor Johan Heldenbergh, who plays Didier. This well-known Flemish actor is very involved in all things American. He has even made a 'Flemish western', a no-budget film which involved all inhabitants of the village he lived in at the time. When asked by Elize what he really cares about, Didier answers: 'America. That's a country of dreamers'. But later on in the film he despises George W. Bush's decision not to allow stem cell therapy.
American politics is not the only theme the director cleverly includes in the story about Didier and Elize. Another one is religion. Didier is not religious, and cannot understand why others are. At one point, he confronts the startled audience of a bluegrass concert with his views about a supreme being. Scenes like these are a little bit over the top, but then again Didier is not an average person.
'The Broken Circle Breakdown' is a very original, heartfelt movie about exceptional people and beautiful music. Worth seeing, even if you don't know who Bill Monroe is.
'The Broken Circle Breakdown' is about the young couple Didier and Elize. Didier seems to be an American born on the wrong continent: he drives a pick-up truck, sleeps in a trailer and considers Bill Monroe the greatest musician ever. Elize works in a tattoo parlour and looks the part. She doesn't know who Bill Monroe is, but she wins Didier's heart by draping her tattooed body, clad in a stars and stripes-bikini, over the hood of his truck.
The young lovers are happy and carefree, even when Elize gets pregnant. They call their daughter Maybelle (after Maybelle Carter) and move from the trailer to an old farmhouse. But then disaster hits and their lives are changed dramatically.
Director Felix Van Groeningen tells the story in many flash backs and flash forwards, but succeeds in not confusing the audience. In spite of the sometimes very dramatic developments and some emotional scenes the film contains many lighthearted and even funny moments. The bluegrass music blends in naturally: Didier is a bluegrass musician and Elize joins the band as the singer.
The use of bluegrass music was an idea from actor Johan Heldenbergh, who plays Didier. This well-known Flemish actor is very involved in all things American. He has even made a 'Flemish western', a no-budget film which involved all inhabitants of the village he lived in at the time. When asked by Elize what he really cares about, Didier answers: 'America. That's a country of dreamers'. But later on in the film he despises George W. Bush's decision not to allow stem cell therapy.
American politics is not the only theme the director cleverly includes in the story about Didier and Elize. Another one is religion. Didier is not religious, and cannot understand why others are. At one point, he confronts the startled audience of a bluegrass concert with his views about a supreme being. Scenes like these are a little bit over the top, but then again Didier is not an average person.
'The Broken Circle Breakdown' is a very original, heartfelt movie about exceptional people and beautiful music. Worth seeing, even if you don't know who Bill Monroe is.
Bluegrass,tattoos,stem-cells and euthanasia. Somehow it makes for one of the best movies of the year.
zithrandir27 February 2014
Oh and did I mention it's a foreign film? I simply cannot say how much I loved this movie. It's the story of Didier, a bluegrass singer, and Elise, a tattoo artist who fall in love. The film chronicles their lives over a period of approximately 7 years. The highs and the lows. The joy and the pain.
The movie captures your attention from go, with the great music and locks you in for the journey with their fast moving romance and the family tragedy that they go through and how they both deal with it. I was moved to tears on more than one occasion with this movie.
The story goes back and forth in time with a subtlety that would impress Tarantino or Nolan. The directing is inspired and the cinematography fits the mood of the movie. You forget your reading subtitles quickly and immerse yourself in their odyssey. This is definitely one of the best movies of the year and it is a shame that it is only up for Best foreign film. It could give the big dogs a run for their money this year, if it had a chance.
The movie captures your attention from go, with the great music and locks you in for the journey with their fast moving romance and the family tragedy that they go through and how they both deal with it. I was moved to tears on more than one occasion with this movie.
The story goes back and forth in time with a subtlety that would impress Tarantino or Nolan. The directing is inspired and the cinematography fits the mood of the movie. You forget your reading subtitles quickly and immerse yourself in their odyssey. This is definitely one of the best movies of the year and it is a shame that it is only up for Best foreign film. It could give the big dogs a run for their money this year, if it had a chance.
Powerful Drama With Beautiful Country Music
DexIMF11 September 2013
The film feels like jumbling through shuffled photographs that hold bittersweet memories. Non-linear narrative has become more recognized device to sketch a contrast change in a relationship. It's an effective device which makes it easy to tell a story with a sense of tragic irony. A film that followed this style in my recent memory is 'Blue Valentine'. 'The Broken Circle Breakdown' tells a story of a couple trying to deal with the sickness tragedy of their leukemic child while jumbling through their past. The scenes with this sweet child girl feel most honest, and hence deeply moving. It has one of the most hard-hitting and realistic scenes of post-traumatic stress in a relationship I've seen in films. The film is helped by some fine performances by its leads, and country music is a driving vector of this story. But the film is at its disadvantage because of distracting, and sometimes incoherent, editing. You're shifting from a moment to another moment. Some stick with you, and some don't.
A Worthy Oscar Contender
lorrijames1 March 2014
I watched this The Broken Circle Breakdown (BCB) immediately after viewing American Hustle AH), which is a Best Picture nominee, and while I enjoyed the latter, what struck me about it, even while I watched the movie, is that it tried too hard. The scenes seemed crafted for Academy voters. This feeling was solidified as I watched BCB, which, on the other hand, is a movie in which the emotions feel real and the acting appears genuine rather than forced.
Avid moviegoers are familiar with the happy-family-torn-apart-by-illness theme, but the marriage of that theme with American bluegrass music in a Belgian setting is novel. I have not seen any of the other Foreign Film contenders, but this one is more than worthy when juxtaposed against AH.
Avid moviegoers are familiar with the happy-family-torn-apart-by-illness theme, but the marriage of that theme with American bluegrass music in a Belgian setting is novel. I have not seen any of the other Foreign Film contenders, but this one is more than worthy when juxtaposed against AH.
My One Problem With This Movie
selfhelpradio14 March 2014
Warning: Spoilers
I don't want to say this is a terrible movie, because it isn't. It's heartbreakingly sad & the beautiful music - apparently really performed by the actors - was great to watch.
After the big crisis in the film, the two leads suffer, & there's supposed to be dramatic tension because the male, Didier, is a "romantic atheist," while the female, Elise, is a "religious realist." (These are not my terms, they're from the summary - Elise doesn't appear to me to be terribly realistic, nor does Didier seem all that romantic.) Neither apparently communicates too well - Didier seems to wait until he's pent up to express himself, while Elise is - well, we just get a handed-down family heirloom crucifix necklace to establish her religiosity, but it's not entirely Christian, because she apparently believes the human soul can transmigrate into a bird. Didier has one scene where he yells at an audience about Christian fundamentalism that's the biggest reveal we have about his anger toward people of that faith.
Except. The title of the movie is "The Broken Circle Breakdown." From the old folk song which insists "there's a better world awaiting in the sky." Didier is apparently steeped in bluegrass music, which, like country, has deep roots in American Christianity. I've known folks whose interest in the music has led them to reconnect with their faith. It's that powerful. & for many, it's the passion of the faith - certainly it's there in Bill Monroe, Didier's idol - that shines through the music. Are we supposed to believe that Didier has either missed this, or ignores it, to such an extent that songs about faith & the afterlife don't anger him the way George Bush's fundamentalism does?
It's baffling. & it's something that surely he would have noticed in the course of his obsession with bluegrass.
Because it seems impossible to me that someone so immersed in the music wouldn't at least have to discuss - at least with him or herself - the religious themes present in so many of the songs they're going to listen to or perform. That the movie seems unconcerned with this is a great fault, & one that kept me from thinking that the characters were truly three- dimensional.
After the big crisis in the film, the two leads suffer, & there's supposed to be dramatic tension because the male, Didier, is a "romantic atheist," while the female, Elise, is a "religious realist." (These are not my terms, they're from the summary - Elise doesn't appear to me to be terribly realistic, nor does Didier seem all that romantic.) Neither apparently communicates too well - Didier seems to wait until he's pent up to express himself, while Elise is - well, we just get a handed-down family heirloom crucifix necklace to establish her religiosity, but it's not entirely Christian, because she apparently believes the human soul can transmigrate into a bird. Didier has one scene where he yells at an audience about Christian fundamentalism that's the biggest reveal we have about his anger toward people of that faith.
Except. The title of the movie is "The Broken Circle Breakdown." From the old folk song which insists "there's a better world awaiting in the sky." Didier is apparently steeped in bluegrass music, which, like country, has deep roots in American Christianity. I've known folks whose interest in the music has led them to reconnect with their faith. It's that powerful. & for many, it's the passion of the faith - certainly it's there in Bill Monroe, Didier's idol - that shines through the music. Are we supposed to believe that Didier has either missed this, or ignores it, to such an extent that songs about faith & the afterlife don't anger him the way George Bush's fundamentalism does?
It's baffling. & it's something that surely he would have noticed in the course of his obsession with bluegrass.
Because it seems impossible to me that someone so immersed in the music wouldn't at least have to discuss - at least with him or herself - the religious themes present in so many of the songs they're going to listen to or perform. That the movie seems unconcerned with this is a great fault, & one that kept me from thinking that the characters were truly three- dimensional.
In spite of the bleak premise the film isn't an emotional force
Likes_Ninjas9013 May 2014
Warning: Spoilers
The Belgian feature The Broken Circle Breakdown has a booming political voice and a pair of committed performances but as a film it does not work. It is apparent that the narrative was moulded heavily for the screen but without fully embracing and adapting to the filmic medium. The story is about a couple named Didier (Johan Heldenbergh) and Elise (Veerle Baetens). They have been a couple for seven years and sing together in a bluegrass band. Didier wants to live like a cowboy because he loves American country music and Elise, while covered in her own tattoos that detail her previous relationships, is running a tattoo parlour. The couple is told their five year old daughter Maybelle (Nell Cattrysse) has been diagnosed with cancer. Using a non-linear structure, the director Felix van Groeningen cuts between this present day crisis and then back to when the couple first met. He also flashes forward to a pivotal future moment when Elise herself is being rushed to hospital. The shape of the narrative is a stylistic choice rather than a psychological one because the time shifts do not enrich the depth or meaning of the lives of the characters. The lead work by Johan Heldenbergh (Didier) and Veerle Baetens (Elise) is adequate and the music is cheerful but in spite of the bleak premise the film isn't an emotional force.
The fate of a child and the subsequent breakdown of the family unit isn't a new idea either because there have been an immeasurable number of films depicting this tragedy. Lars von Trier's Antichrist (2009) is one of the recent and grimmer examples. For Groeningen the adaptation process is a far greater problem than originality. The script he and Carl Joos have written is from the play "The Broken Circle Breakdown Featuring Cover-Ups of Alabama", by Heldenbergh himself and Mieke Dobbels. One of the difficulties with translating a play to a film is the contrasting forms of the two mediums. A play is almost entirely dialogue driven, while cinema is largely a visual medium, relying heavily on images to tell a story. The play apparently featured a number of monologues that Groeningen admits would not have been cinematic if they were included in the film. Consequently, some of the characterisation has been lost and the two characters seem rather flimsy. Groeningen has also said that he has not plotted the film through story but emotion, which accounts for why it isn't very eventful till late in the piece and why it lacks a strong through-line. Similarly, Maybelle's sickness forces the two adult characters to be reactionary and express themselves largely from their emotions and dialogue, like a play, rather than providing them with something to act upon. The music performances are injected to redeem this problem and to provide more "action". They are a pleasant diversion, even though the instruments are sometimes too loud for the singing voices.
The bumps in the script must have been visible to Groeningen because he tries hiding them within the non-linear storytelling. He admitted that the structure was developed in the film's editing process. For a little while the dual timelines dissolve the story's dramatic simplicity. A slick overlap between the timelines contrasts Didier and Elise building a home for their child and then cuts to the present as they bring Maybelle back to the finished property from the hospital. However, the structure is largely window-dressing, covering for what is mostly a simple melodrama with loud political ideas. Didier and Elise exist to verbalise an ideological and social debate. When tragedy strikes, Didier blames the Bush administration for fighting against stem cell research, while Elise is driven by her faith and the possibility of spiritual healing. The director offers no subtlety in expressing Didier's atheist viewpoint. He zooms in on footage of George W. Bush speaking on television and allows Didier to yell at an audience, in monologue style, about the failures of the US government and religious conformity. The play originally came out in 2008, just a year after the Bush administration was replaced. The scientific debate would have been timelier several years ago. Once the tragedy unfolds and the flashy narrative structure is pared back, the film's verbal friction takes over and the parents blame each other for the grief in their lives. But everything is pitched at such an overly melodramatic level that I found myself resisting the film rather than being moved by it.
The fate of a child and the subsequent breakdown of the family unit isn't a new idea either because there have been an immeasurable number of films depicting this tragedy. Lars von Trier's Antichrist (2009) is one of the recent and grimmer examples. For Groeningen the adaptation process is a far greater problem than originality. The script he and Carl Joos have written is from the play "The Broken Circle Breakdown Featuring Cover-Ups of Alabama", by Heldenbergh himself and Mieke Dobbels. One of the difficulties with translating a play to a film is the contrasting forms of the two mediums. A play is almost entirely dialogue driven, while cinema is largely a visual medium, relying heavily on images to tell a story. The play apparently featured a number of monologues that Groeningen admits would not have been cinematic if they were included in the film. Consequently, some of the characterisation has been lost and the two characters seem rather flimsy. Groeningen has also said that he has not plotted the film through story but emotion, which accounts for why it isn't very eventful till late in the piece and why it lacks a strong through-line. Similarly, Maybelle's sickness forces the two adult characters to be reactionary and express themselves largely from their emotions and dialogue, like a play, rather than providing them with something to act upon. The music performances are injected to redeem this problem and to provide more "action". They are a pleasant diversion, even though the instruments are sometimes too loud for the singing voices.
The bumps in the script must have been visible to Groeningen because he tries hiding them within the non-linear storytelling. He admitted that the structure was developed in the film's editing process. For a little while the dual timelines dissolve the story's dramatic simplicity. A slick overlap between the timelines contrasts Didier and Elise building a home for their child and then cuts to the present as they bring Maybelle back to the finished property from the hospital. However, the structure is largely window-dressing, covering for what is mostly a simple melodrama with loud political ideas. Didier and Elise exist to verbalise an ideological and social debate. When tragedy strikes, Didier blames the Bush administration for fighting against stem cell research, while Elise is driven by her faith and the possibility of spiritual healing. The director offers no subtlety in expressing Didier's atheist viewpoint. He zooms in on footage of George W. Bush speaking on television and allows Didier to yell at an audience, in monologue style, about the failures of the US government and religious conformity. The play originally came out in 2008, just a year after the Bush administration was replaced. The scientific debate would have been timelier several years ago. Once the tragedy unfolds and the flashy narrative structure is pared back, the film's verbal friction takes over and the parents blame each other for the grief in their lives. But everything is pitched at such an overly melodramatic level that I found myself resisting the film rather than being moved by it.
Very beautiful Belgian drama
markhes18 December 2012
Yesterday i saw this beautiful movie about life, love and death. After half an hour i had the feeling i was looking to a amazingly well balanced and touching film. Every scene, switches in time, music and countryside setting, the actors, the Flemish language ... it all seems to fit together. All credits for that, because the content is rather heavy: the life of the the two leading persons turns completely upside down when their child becomes very ill. The good thing is that - despite the dramatic events - the film doesn't become sentimental at all. The enormous grief is shown beautiful in small details like a bent hand (in the song if i needed you) or the facial expressions of the main actors. Amazing (and yet, easy to believe) how two people can react so different on a tragic event like losing your child.
Belgians, Beards, Bluegrass and Death
The_After_Movie_Diner25 October 2013
Warning: Spoilers
Belgians, Bluegrass, Beards, Tattoos, Child Cancer, Marriage, Death, Birth, Life, Sex, Religion, Science, Politics, America, Birds, Stars and Suicide. The Broken Circle Breakdown is about all this and more. It's a phenomenal, brilliant, difficult, depressing, heart warming and joyously musical movie from Belgium by writer/director Felix Van Groeningen starring the supremely talented Johan Heldenbergh and Veerle Baetens. Johan Heldenbergh was also a co-writer of and performer in the original stage play and even learned to play guitar, mandolin and banjo to perform the lead role of Didier who is fascinated by America and bluegrass music.
The film tells the tragic story of Didier, the bearded bluegrass fanatic and passionate atheist, Elise/Alabama the head strong, mysterious, confused, emotional, sexy and lost tattoo shop owner and Maybelle their doomed daughter. The film chronicles their lives together, through the good and the bad, in a nonlinear narrative. The emotions involved and the relevant life moments, though, flow in a perfectly understandable and pleasing way. It's not unlike someone, sat round a table, telling you their life story. It wouldn't go from start to finish, there would be moments where they'd have to go back and fill in the blanks for you, that's the nature of this film. The characters meet, fall in love, find joy, get pregnant, face that hurdle, have a child, suffer that child getting leukemia and passing away and then the rest of the film shows how both Didier and Elise handle that while also taking time to cover the religious, spiritual, political and scientific ramifications of that. Didier is thrown more passionately into his steadfast belief in science and the political, religious fundamentalists who would block its exploration, while also desperately, emotionally and lovingly trying to keep his marriage and music together and Elise begins to find beauty and solace in notions of re-incarnation or the spiritual realm but also retreats from a situation she sees no remedy to and slowly, tragically abandons everything. Interspersed through all this tough life stuff is some of the most exquisite live performance of bluegrass, country and Americana roots music by a brilliant team of bearded Belgians. It's one of the best movie soundtracks of this kind, in my humble opinion, this side of O Brother, Where Art Thou?
The music, overseen and, very often, written originally by Bjorn Eriksson is most definitely the soul of this film and where it really hits its stride in terms of displaying truth, beauty and raw emotion. The whole film could've been dialogue free and told in just that incredible series of performances such is the skill of the actors and musicians. It helps immensely that the two leads perform the songs themselves and so can imbue them with the emotional journey their character is taking. During the rendition of 'Will the Circle Be Unbroken' We see attraction, amazement and the first flickers of love in Elise's face from the audience. During "Cowboy" Didier connects with Elise, shows off, struts, feels confident and she responds with excitement, awe and lust. During "Boy Who Wouldn't Hoe Corn", shown in a fantastic montage that goes from Didier practicing in the caravan, passed a beautifully photographed, fireside hoedown and up to the point when Elise finally joins her man on stage, you see her blossom and Didier unable to believe his luck. You even see the band buoyed and pushed forward by the way everything is gelling. Elise's solo performance of "Wayfaring Stranger" is so powerful and perfect that it doesn't really need the intercut images of poor Maybelle's fate, as everything is on Veerle Baetens' face and in the words of the song. This continues throughout the film with everyone hitting the right note so as to make the emotions utterly raw and believable in a way that only the combination of great direction, editing, performance, music and film can. In what might be one of the most beautiful performances of the entire film, Elise joins Didier and the band on stage one last time to perform a duet version of "If I needed You". It is the point where everything shifts and the two lovers are moving apart, Didier reaching out and Elise retreating. It's so sad, awkward and stunningly simplistic.
These musical interludes and their deep, clever, subtle storytelling are not, in any way, too obvious, mawkish, sentimental, over wrought or manipulative. They are woven so perfectly into the broken narrative that they enhance the journey you're on with the cast. It helps, of course, that I am already a fan of this music and it helps too that the film is photographed, directed and edited in such a wonderful way as to make even the slightest nod of a head, or the move of a hand poetic and rich. The colours, the grain, the lighting, the sound and the shots are so full of detail, texture, shadow as to both be seemingly realistic, you can feel the warm fire in a cold farm house, and utterly artistic, vibrant and clearly a movie.
Is it a tough watch, a tad depressing and definitely melodramatic? yes. It wasn't the love story I was expecting by a long shot but whereas other films I have seen are just relentlessly dreary, depressing, slow and devoid of ideas and emotions, Broken Circle Breakdown can be watched over and over again for the depth, detail, performances and ideology it has. I took from the film that life is meant to be held on to and fought for, not given up on or run away from and while finding solace in the religious or spiritual is all very well, there is more than enough beauty, mystery, music and reason to keep living, as much as you can, day by day, on earth, no matter how hard it gets. You never know, one day you might be surrounded by awesomely talented, bearded Belgians singing bluegrass... we can all dream, right?
The film tells the tragic story of Didier, the bearded bluegrass fanatic and passionate atheist, Elise/Alabama the head strong, mysterious, confused, emotional, sexy and lost tattoo shop owner and Maybelle their doomed daughter. The film chronicles their lives together, through the good and the bad, in a nonlinear narrative. The emotions involved and the relevant life moments, though, flow in a perfectly understandable and pleasing way. It's not unlike someone, sat round a table, telling you their life story. It wouldn't go from start to finish, there would be moments where they'd have to go back and fill in the blanks for you, that's the nature of this film. The characters meet, fall in love, find joy, get pregnant, face that hurdle, have a child, suffer that child getting leukemia and passing away and then the rest of the film shows how both Didier and Elise handle that while also taking time to cover the religious, spiritual, political and scientific ramifications of that. Didier is thrown more passionately into his steadfast belief in science and the political, religious fundamentalists who would block its exploration, while also desperately, emotionally and lovingly trying to keep his marriage and music together and Elise begins to find beauty and solace in notions of re-incarnation or the spiritual realm but also retreats from a situation she sees no remedy to and slowly, tragically abandons everything. Interspersed through all this tough life stuff is some of the most exquisite live performance of bluegrass, country and Americana roots music by a brilliant team of bearded Belgians. It's one of the best movie soundtracks of this kind, in my humble opinion, this side of O Brother, Where Art Thou?
The music, overseen and, very often, written originally by Bjorn Eriksson is most definitely the soul of this film and where it really hits its stride in terms of displaying truth, beauty and raw emotion. The whole film could've been dialogue free and told in just that incredible series of performances such is the skill of the actors and musicians. It helps immensely that the two leads perform the songs themselves and so can imbue them with the emotional journey their character is taking. During the rendition of 'Will the Circle Be Unbroken' We see attraction, amazement and the first flickers of love in Elise's face from the audience. During "Cowboy" Didier connects with Elise, shows off, struts, feels confident and she responds with excitement, awe and lust. During "Boy Who Wouldn't Hoe Corn", shown in a fantastic montage that goes from Didier practicing in the caravan, passed a beautifully photographed, fireside hoedown and up to the point when Elise finally joins her man on stage, you see her blossom and Didier unable to believe his luck. You even see the band buoyed and pushed forward by the way everything is gelling. Elise's solo performance of "Wayfaring Stranger" is so powerful and perfect that it doesn't really need the intercut images of poor Maybelle's fate, as everything is on Veerle Baetens' face and in the words of the song. This continues throughout the film with everyone hitting the right note so as to make the emotions utterly raw and believable in a way that only the combination of great direction, editing, performance, music and film can. In what might be one of the most beautiful performances of the entire film, Elise joins Didier and the band on stage one last time to perform a duet version of "If I needed You". It is the point where everything shifts and the two lovers are moving apart, Didier reaching out and Elise retreating. It's so sad, awkward and stunningly simplistic.
These musical interludes and their deep, clever, subtle storytelling are not, in any way, too obvious, mawkish, sentimental, over wrought or manipulative. They are woven so perfectly into the broken narrative that they enhance the journey you're on with the cast. It helps, of course, that I am already a fan of this music and it helps too that the film is photographed, directed and edited in such a wonderful way as to make even the slightest nod of a head, or the move of a hand poetic and rich. The colours, the grain, the lighting, the sound and the shots are so full of detail, texture, shadow as to both be seemingly realistic, you can feel the warm fire in a cold farm house, and utterly artistic, vibrant and clearly a movie.
Is it a tough watch, a tad depressing and definitely melodramatic? yes. It wasn't the love story I was expecting by a long shot but whereas other films I have seen are just relentlessly dreary, depressing, slow and devoid of ideas and emotions, Broken Circle Breakdown can be watched over and over again for the depth, detail, performances and ideology it has. I took from the film that life is meant to be held on to and fought for, not given up on or run away from and while finding solace in the religious or spiritual is all very well, there is more than enough beauty, mystery, music and reason to keep living, as much as you can, day by day, on earth, no matter how hard it gets. You never know, one day you might be surrounded by awesomely talented, bearded Belgians singing bluegrass... we can all dream, right?
Film seems chronologically challenged, but works out very well after all and offers perfect drama
JvH4812 October 2012
Warning: Spoilers
This was the openingsfilm of the Ghent filmfestival 2012. Director Felix van Groeningen is born (1977) in the city of Ghent, and still lives there as far as I know (also has, see IMDb trivia, a heavy Ghentian local accent). Please do not construe this to be the sole reason for programming this film on the prestigious opening night, since he has an ample track record to warrant it.
The announcement text as published by the festival draws our special attention to the considerable portion of bluegrass music in the film. It made me hesitate a little when booking tickets, due to my association with country&western music that I don't like very much (maybe too "American life style" for me). But my prejudice proved very wrong, and the music score offered much more than I imagined. It is not a musical, however, where the music scenes carry the story line. Instead, the music appears on logical moments and does not come in the way of the drama.
An interview with the film director preceded the screening. Apart from the usual exchange of facts about how the film was made and how it relates to predecessors from the same director, I noted an important observation made by the interviewer (Patrick Duynslaegher, artistic director of the festival). He mentioned that the scene ordering was not the one he would have chosen. It proved to be a useful hint. If I had not known this before, I would have been left confused, and I certainly would have failed to appreciate the film. Now I satisfy myself with calling it "chronologically challenged", hopefully serving as a heads up for subsequent viewers. The only switch back in time shown explicitly is after the initial scene around the child's hospital bed. We see "7 years earlier" displayed announcing a backflash to the time before the parents were married. All later time switches back and forth (be prepared for many of those), have to be derived from the context. It needs some getting used to, but it works out very well, after all, to get the dramatic development across.
The bare story can be told in a few lines, but doesn't do the film justice. Two very different people get to know each other by chance, find a common ground in their love for bluegrass music, the woman gets pregnant unexpectedly, they get married, and raise the child that is born. The drama starts when the child has an incurable disease at the age of six, gets hospitalized for a long time, and undergoes some fruitless therapies. Finally, stem cell therapy seemed to offer the last straw, but after a hopeful start proved nevertheless too experimental to yield a positive end result.
Throughout the film we see significant events in the form of flashbacks. These events are taken from the healthy years of the child, and seem almost trivial at first. Two examples: the bird that flies against the veranda glass and dies, and the stories told about the many years that light from the stars is underway before it reaches earth. These are just examples, but have in common that they become more important later on, either as happy memories or as mishaps to hold against each other.
In the aftermath of their child's death we clearly see that they grow apart more and more. The only occasions where they still see each other, are the continued bluegrass concerts they give together with their band.
The very different reactions to their child's death is best illustrated by what follows after a TV speech by George W Bush, when he vetoes stem cell therapy research as against the will of God. In the middle of a concert, the man bursts out in a long speech. He states that stem cell therapy might have rescued their child when medical science had been given the chance for more field research, and not being hindered by people who put their beliefs above progress. She does not take it very well, retreats to the tattoo shop she owns (the place where they initially met, by the way), and she barricades herself. There is no spoiler danger ahead when I tell that this cannot lead to a happy ending.
All in all, given the heads up from the initial interview about the non-standard scene sequencing, I was very happy with the end result. The casting and acting added positively to the total experience, as was the case with the bluegrass music. The latter is still not my favorite, but it blended in very well with the proceedings, and thus formed an integral part of the story line and the decor. My conclusion after all is that telling the story this way, is the only logical way that really works.
The announcement text as published by the festival draws our special attention to the considerable portion of bluegrass music in the film. It made me hesitate a little when booking tickets, due to my association with country&western music that I don't like very much (maybe too "American life style" for me). But my prejudice proved very wrong, and the music score offered much more than I imagined. It is not a musical, however, where the music scenes carry the story line. Instead, the music appears on logical moments and does not come in the way of the drama.
An interview with the film director preceded the screening. Apart from the usual exchange of facts about how the film was made and how it relates to predecessors from the same director, I noted an important observation made by the interviewer (Patrick Duynslaegher, artistic director of the festival). He mentioned that the scene ordering was not the one he would have chosen. It proved to be a useful hint. If I had not known this before, I would have been left confused, and I certainly would have failed to appreciate the film. Now I satisfy myself with calling it "chronologically challenged", hopefully serving as a heads up for subsequent viewers. The only switch back in time shown explicitly is after the initial scene around the child's hospital bed. We see "7 years earlier" displayed announcing a backflash to the time before the parents were married. All later time switches back and forth (be prepared for many of those), have to be derived from the context. It needs some getting used to, but it works out very well, after all, to get the dramatic development across.
The bare story can be told in a few lines, but doesn't do the film justice. Two very different people get to know each other by chance, find a common ground in their love for bluegrass music, the woman gets pregnant unexpectedly, they get married, and raise the child that is born. The drama starts when the child has an incurable disease at the age of six, gets hospitalized for a long time, and undergoes some fruitless therapies. Finally, stem cell therapy seemed to offer the last straw, but after a hopeful start proved nevertheless too experimental to yield a positive end result.
Throughout the film we see significant events in the form of flashbacks. These events are taken from the healthy years of the child, and seem almost trivial at first. Two examples: the bird that flies against the veranda glass and dies, and the stories told about the many years that light from the stars is underway before it reaches earth. These are just examples, but have in common that they become more important later on, either as happy memories or as mishaps to hold against each other.
In the aftermath of their child's death we clearly see that they grow apart more and more. The only occasions where they still see each other, are the continued bluegrass concerts they give together with their band.
The very different reactions to their child's death is best illustrated by what follows after a TV speech by George W Bush, when he vetoes stem cell therapy research as against the will of God. In the middle of a concert, the man bursts out in a long speech. He states that stem cell therapy might have rescued their child when medical science had been given the chance for more field research, and not being hindered by people who put their beliefs above progress. She does not take it very well, retreats to the tattoo shop she owns (the place where they initially met, by the way), and she barricades herself. There is no spoiler danger ahead when I tell that this cannot lead to a happy ending.
All in all, given the heads up from the initial interview about the non-standard scene sequencing, I was very happy with the end result. The casting and acting added positively to the total experience, as was the case with the bluegrass music. The latter is still not my favorite, but it blended in very well with the proceedings, and thus formed an integral part of the story line and the decor. My conclusion after all is that telling the story this way, is the only logical way that really works.
A very powerful film but also a heartbreaker!
Hellmant25 February 2014
'THE BROKEN CIRCLE BREAKDOWN': Four and a Half Stars (Out of Five)
Critically acclaimed Belgian drama film based on the play 'The Broken Circle Breakdown Featuring the Cover-Ups of Alabama' by Johan Heldenbergh and Mieke Dobbels. It tells the story of two bluegrass musicians who fall in love, have a child and have to cope with that child's battle against cancer (at the age of just 6). Heldenbergh co-stars in the movie with singer/actress Veerle Baetens. It was directed by Felix Van Groeningen, who also co-wrote the screenplay (with Carl Joos and Charlotte Vandermeersch). The film has been nominated for 'Best Foreign Language Film' at the 2014 Academy Awards and I think it deserves all the acclaim and award recognition it's been getting. It is a really hard movie to watch though.
Heldenbergh plays Didier Bontinck, a singer and banjo player of a popular local bluegrass band (in Ghent, Belgium). Baetens plays Elise Vandevelde, a tattoo shop owner who's also a very talented singer. They meet and fall in love instantly. She later joins his band. The two are very happy together and things continue to go well even through an unexpected pregnancy. But when their daughter, Maybelle (Nell Cattrysse), develops cancer at age 6 they're perfect life comes crashing down. The story is told mostly in flashbacks and Bontinck's atheist beliefs also play a huge part in how he deals with the drama.
The movie reminded me a lot of the great 2010 film 'BLUE VALENTINE'. It's not quite as memorable but it is reminiscent in style and feeling. This flick also has some beautiful bluegrass music though (all American songs performed in English), which is one of it's highlights. It's very emotional; uplifting and romantic at times but mostly extremely depressing. There are very strong words against religion (and how it ruins the lives of everyone) throughout the movie. Being a very spiritual person I can't say I agree with this message but I think the character is justified in feeling that way. It's definitely a very powerful film but it's also a heartbreaker.
Watch our movie review show 'MOVIE TALK' at: https://www.youtube.com/watch?v=jTUUB4nMD6M
Critically acclaimed Belgian drama film based on the play 'The Broken Circle Breakdown Featuring the Cover-Ups of Alabama' by Johan Heldenbergh and Mieke Dobbels. It tells the story of two bluegrass musicians who fall in love, have a child and have to cope with that child's battle against cancer (at the age of just 6). Heldenbergh co-stars in the movie with singer/actress Veerle Baetens. It was directed by Felix Van Groeningen, who also co-wrote the screenplay (with Carl Joos and Charlotte Vandermeersch). The film has been nominated for 'Best Foreign Language Film' at the 2014 Academy Awards and I think it deserves all the acclaim and award recognition it's been getting. It is a really hard movie to watch though.
Heldenbergh plays Didier Bontinck, a singer and banjo player of a popular local bluegrass band (in Ghent, Belgium). Baetens plays Elise Vandevelde, a tattoo shop owner who's also a very talented singer. They meet and fall in love instantly. She later joins his band. The two are very happy together and things continue to go well even through an unexpected pregnancy. But when their daughter, Maybelle (Nell Cattrysse), develops cancer at age 6 they're perfect life comes crashing down. The story is told mostly in flashbacks and Bontinck's atheist beliefs also play a huge part in how he deals with the drama.
The movie reminded me a lot of the great 2010 film 'BLUE VALENTINE'. It's not quite as memorable but it is reminiscent in style and feeling. This flick also has some beautiful bluegrass music though (all American songs performed in English), which is one of it's highlights. It's very emotional; uplifting and romantic at times but mostly extremely depressing. There are very strong words against religion (and how it ruins the lives of everyone) throughout the movie. Being a very spiritual person I can't say I agree with this message but I think the character is justified in feeling that way. It's definitely a very powerful film but it's also a heartbreaker.
Watch our movie review show 'MOVIE TALK' at: https://www.youtube.com/watch?v=jTUUB4nMD6M
A sure bet to receive an Oscar nomination for Best Foreign Film
estebangonzalez102 December 2013
¨Bluegrass, that is Country in its purest form.¨
Your musical taste for Bluegrass Country music could affect how much you enjoy this Belgian melodrama, and for me it worked really well because every time the narrative structure began feeling a bit forced the soundtrack saved the moment. Perhaps I would've enjoyed this more if I hadn't seen Blue Valentine, but so many elements from that movie seemed borrowed here by Belgian director Felix Van Groeningen. It has a similar narrative as the story is told in non-linear fashion focusing on a couple falling in and out of love. What did work really well here were the two lead performances who made every dramatic moment seem very real and authentic. They shared an incredible on screen chemistry without ever overdramatizing their scenes. They also did their own singing, and they have incredible voices so that drew me in as well. Some of the dramatic scenes were really sad and the film also touches on some very heavy handed themes, but they work thanks to the performances as well. It is a touching film that will pull on your emotional chords and it can be a bit too preachy at times, but I still enjoyed this film despite its flaws. By the way, The Broken Circle Breakdown is Belgium's official submission to the 2014 Oscars for the best foreign language film category. It has a shot at being nominated, but I don't think it will win. I think the two lead actors deserve more recognition than the movie itself.
The plot centers on the relationship between Didier (Johan Heldenbergh), a cowboy banjo player for a bluegrass country band, and Elise (Veerle Baetens) a tattoo artist who has her own shop. The two meet and quickly fall in love, but the film cuts back and forth between their relationship when they first met and then seven years into their relationship as they deal with their daughter's (Nell Cattrysse) illness. Both deal with this tragedy in different ways, which eventually begins to shake their apparently steady and strong relationship. The story jumps back and forth as we see the couple falling in and out of love. The entire film centers on this couple and everyone else around them is barely significant to the story.
Veerle Baetens and Johan Heldenbergh give very good dramatic performances and their characters are given much substance. They carry this film and keep our attention even through some forced moments where the story seems to lose its balance. Didier is an atheist, but he loves America and is obsessed with bluegrass music. He finds it silly and offensive to think that people actually believe in religion, but at the same time he sings gospel songs like Over in the Gloryland and Where the Soul of a Man Never Dies. Then all of a sudden after he experiences some deep tragedy he begins to rant on how stupid people are for having faith. This isn't a complaint I have with the movie, as much as I do with his character, but I just don't understand why people wait for some personal tragedy to hit them to then all of a sudden begin caring for something. It just shows how selfish we really are because until it hits home we didn't even think about it. Now all of a sudden, the culture he has always loved is full of people he hates because their faith hasn't allowed stem research to develop as quickly as he would've liked. The way Didier deals with grief just made me dislike his character, but I guess the writers wanted to include this to make this some sort of science versus religion story. I thought it just became a little too heavy handed and preachy when it could have focused more on the soundtrack and let the music touch these characters since it was such an important part of their lives. In my opinion the performances and the music saved this film and got it through some of those difficult and clichéd scenes. The Broken Circle Breakdown is still a very good dramatic film and one I recommend.
Your musical taste for Bluegrass Country music could affect how much you enjoy this Belgian melodrama, and for me it worked really well because every time the narrative structure began feeling a bit forced the soundtrack saved the moment. Perhaps I would've enjoyed this more if I hadn't seen Blue Valentine, but so many elements from that movie seemed borrowed here by Belgian director Felix Van Groeningen. It has a similar narrative as the story is told in non-linear fashion focusing on a couple falling in and out of love. What did work really well here were the two lead performances who made every dramatic moment seem very real and authentic. They shared an incredible on screen chemistry without ever overdramatizing their scenes. They also did their own singing, and they have incredible voices so that drew me in as well. Some of the dramatic scenes were really sad and the film also touches on some very heavy handed themes, but they work thanks to the performances as well. It is a touching film that will pull on your emotional chords and it can be a bit too preachy at times, but I still enjoyed this film despite its flaws. By the way, The Broken Circle Breakdown is Belgium's official submission to the 2014 Oscars for the best foreign language film category. It has a shot at being nominated, but I don't think it will win. I think the two lead actors deserve more recognition than the movie itself.
The plot centers on the relationship between Didier (Johan Heldenbergh), a cowboy banjo player for a bluegrass country band, and Elise (Veerle Baetens) a tattoo artist who has her own shop. The two meet and quickly fall in love, but the film cuts back and forth between their relationship when they first met and then seven years into their relationship as they deal with their daughter's (Nell Cattrysse) illness. Both deal with this tragedy in different ways, which eventually begins to shake their apparently steady and strong relationship. The story jumps back and forth as we see the couple falling in and out of love. The entire film centers on this couple and everyone else around them is barely significant to the story.
Veerle Baetens and Johan Heldenbergh give very good dramatic performances and their characters are given much substance. They carry this film and keep our attention even through some forced moments where the story seems to lose its balance. Didier is an atheist, but he loves America and is obsessed with bluegrass music. He finds it silly and offensive to think that people actually believe in religion, but at the same time he sings gospel songs like Over in the Gloryland and Where the Soul of a Man Never Dies. Then all of a sudden after he experiences some deep tragedy he begins to rant on how stupid people are for having faith. This isn't a complaint I have with the movie, as much as I do with his character, but I just don't understand why people wait for some personal tragedy to hit them to then all of a sudden begin caring for something. It just shows how selfish we really are because until it hits home we didn't even think about it. Now all of a sudden, the culture he has always loved is full of people he hates because their faith hasn't allowed stem research to develop as quickly as he would've liked. The way Didier deals with grief just made me dislike his character, but I guess the writers wanted to include this to make this some sort of science versus religion story. I thought it just became a little too heavy handed and preachy when it could have focused more on the soundtrack and let the music touch these characters since it was such an important part of their lives. In my opinion the performances and the music saved this film and got it through some of those difficult and clichéd scenes. The Broken Circle Breakdown is still a very good dramatic film and one I recommend.
Felix van Groenigen's Belgium Love Letter to Bluegrass
robert-broerse25 March 2014
Warning: Spoilers
While De Helaasheid de Dingen (The Misfortunates) was more a coming of age story, one focused on loss, adolescence and redemption, Felix van Groeningen's follow-up has a deeper and more tragic message.
In the film we follow in non-linear fashion the lives of Didier and Elise as they meet, fall in love, perform together, have a baby and grapple with their daughter's cancer. Didier is in love with America and American bluegrass and he speaks tenderly of the music. Once a punk rocker he now plays the banjo in a bluegrass band. Elise is a tattoo-artist, free-spirited in her own way, and by mid-way through the film we see as her more religious than her husband. She becomes a member of Didier's band.
What I like best about this film is the seamless way in which the past and present are woven together. Though the film jumps back and forth, the viewer is never lost. Felix van Groeningen has sculpted a movie so intuitively that the audience feels as if they are travelling back and forth, experiencing the highs with the lows and knowing they are part and parcel of life and love. How a moment in the present woefully contrasts a tender episode in the distant past belong to this film's masterful sweep and handling of events.
Moreover, both Johann Heldenbergh (also of The Misfortunates) and Veerle Baetens (Loft) are intoxicating in their performances. Every time I found the film harder to watch, I couldn't stop watching them. We feel grounded in their lives, their passion for each other despite the eventual pain of burying their daughter. We also feel the relationship splintering and understand how Didier and Elise react. While Elise consoles herself with religion, Didier directs his anger at the country of America.
Also, having grown up in a household of Emmylou Harris, Johnny Cash, Linda Ronstadt and classic country, I loved the music. The performances invoke joy and feet-stomping happiness that too is intoxicating.
I suppose my only criticism and it is both major and minor is that the film seems to lose itself in the maudlin after the midway point. I kept comparing the film to The Misfortunates in its ability to balance the tragic with the light-hearted. I also found myself thinking of the Irish film, Once by writer/director John Carney which also featured a musician couple. Though the latter film dealt more with love frustrated by time and circumstance and not tragedy, I felt it was resolved with a realist touch. It is difficult to both love a movie and see its flaws and herein lies my main qualm with The Broken Circle Breakdown: it gets caught up in the pain and loses the balance and ultimately the realism. The audience has already succumbed to the death of Didier and Elise's charismatic daughter (played by newcomer Nell Cattrysse)and towards the end must then accept Elise's overdose.
I can even pinpoint the scene where the film roughly goes off course. Following a performance of 'If I needed You', Didier rants to his audience about God and religion and the banality of belief, especially when it stands in the way of stem-cell research. It is in this moment he loses Elise (having at this point re-christened herself Alabama). I know the director based his film on the play written by his lead and Miekke Dobbels but it's at this point where nuance and subtlety is suddenly exchanged for a hammer blow and what was once hinted at and discussed with metaphor and poetry becomes polemic. Knowing musicians and performers, Didier's anti-religious outburst felt out of character and explicit. It is recognizable that grief can be untamed, that angry and fear make up a large part of the pain but that's what art is for. Music, I would argue is the channel for suffering to be healed and Didier's opportunity to broadcast himself to an audience felt out of touch and forced. This soap box moment took me out of the film and the fact that his band members didn't try to stop him or at least calm him on stage proved also unrealistic. And that the diatribe was used to blatantly inspire Elise/Alabama's suicide attempt made it seem all the more ridiculous and immature.
Maybe one has to be true to the source material (both the original play and the tragic nature of bluegrass songs) but the maudlin sours the film's ending. Which is a little unfair for an audience already swept along by a troubled and bittersweet current of grief and love. Instead of providing mature (though at times immature), three-dimensional characters with a suitable conclusion, the movie devolves into soap opera theatrics. Humor is lost along with hope which the film carried so well.
This film is excellent (and flawed) and was nominated for an academy award for a reason but also didn't win, perhaps because of the movie's bitter, hopeless and cheap resolve.
In the film we follow in non-linear fashion the lives of Didier and Elise as they meet, fall in love, perform together, have a baby and grapple with their daughter's cancer. Didier is in love with America and American bluegrass and he speaks tenderly of the music. Once a punk rocker he now plays the banjo in a bluegrass band. Elise is a tattoo-artist, free-spirited in her own way, and by mid-way through the film we see as her more religious than her husband. She becomes a member of Didier's band.
What I like best about this film is the seamless way in which the past and present are woven together. Though the film jumps back and forth, the viewer is never lost. Felix van Groeningen has sculpted a movie so intuitively that the audience feels as if they are travelling back and forth, experiencing the highs with the lows and knowing they are part and parcel of life and love. How a moment in the present woefully contrasts a tender episode in the distant past belong to this film's masterful sweep and handling of events.
Moreover, both Johann Heldenbergh (also of The Misfortunates) and Veerle Baetens (Loft) are intoxicating in their performances. Every time I found the film harder to watch, I couldn't stop watching them. We feel grounded in their lives, their passion for each other despite the eventual pain of burying their daughter. We also feel the relationship splintering and understand how Didier and Elise react. While Elise consoles herself with religion, Didier directs his anger at the country of America.
Also, having grown up in a household of Emmylou Harris, Johnny Cash, Linda Ronstadt and classic country, I loved the music. The performances invoke joy and feet-stomping happiness that too is intoxicating.
I suppose my only criticism and it is both major and minor is that the film seems to lose itself in the maudlin after the midway point. I kept comparing the film to The Misfortunates in its ability to balance the tragic with the light-hearted. I also found myself thinking of the Irish film, Once by writer/director John Carney which also featured a musician couple. Though the latter film dealt more with love frustrated by time and circumstance and not tragedy, I felt it was resolved with a realist touch. It is difficult to both love a movie and see its flaws and herein lies my main qualm with The Broken Circle Breakdown: it gets caught up in the pain and loses the balance and ultimately the realism. The audience has already succumbed to the death of Didier and Elise's charismatic daughter (played by newcomer Nell Cattrysse)and towards the end must then accept Elise's overdose.
I can even pinpoint the scene where the film roughly goes off course. Following a performance of 'If I needed You', Didier rants to his audience about God and religion and the banality of belief, especially when it stands in the way of stem-cell research. It is in this moment he loses Elise (having at this point re-christened herself Alabama). I know the director based his film on the play written by his lead and Miekke Dobbels but it's at this point where nuance and subtlety is suddenly exchanged for a hammer blow and what was once hinted at and discussed with metaphor and poetry becomes polemic. Knowing musicians and performers, Didier's anti-religious outburst felt out of character and explicit. It is recognizable that grief can be untamed, that angry and fear make up a large part of the pain but that's what art is for. Music, I would argue is the channel for suffering to be healed and Didier's opportunity to broadcast himself to an audience felt out of touch and forced. This soap box moment took me out of the film and the fact that his band members didn't try to stop him or at least calm him on stage proved also unrealistic. And that the diatribe was used to blatantly inspire Elise/Alabama's suicide attempt made it seem all the more ridiculous and immature.
Maybe one has to be true to the source material (both the original play and the tragic nature of bluegrass songs) but the maudlin sours the film's ending. Which is a little unfair for an audience already swept along by a troubled and bittersweet current of grief and love. Instead of providing mature (though at times immature), three-dimensional characters with a suitable conclusion, the movie devolves into soap opera theatrics. Humor is lost along with hope which the film carried so well.
This film is excellent (and flawed) and was nominated for an academy award for a reason but also didn't win, perhaps because of the movie's bitter, hopeless and cheap resolve.
Bluegrass, That Is Country Music In Its Purest Form.
CinemaClown9 January 2014
The Broken Circle Breakdown is an intensely moving cinema about passion, love, loss & sadness and paints a very touching portrait of two people who fall madly in love, start a family & pursue their passions together but when an unexpected tragedy hits their young daughter, their relationship, love for each other & everything they believe in is put on a test while also setting in motion a chain of events that end up truly devastating for each one of them.
A very nicely written story that is even more beautifully invigorated on the screen by the director and with the help of strong performances from the cast & exceptional use of music, it brings alive a grounded life of two very different people trying to live their life together. The experience of watching this film is going to be sad, there is no doubt about it, but it doesn't mean the movie is all gloomy because there are some moments in the film that'll have you humming with its tune without you being aware of it.
The performances by Johan Heldenbergh & Veerle Baetens as Dieter & Elise, respectively, is absolutely riveting. Elise is a religious realist who works as a tattoo artist. Dieter is a romantic atheist who is a banjo player in his bluegrass band. The film makes use of flashbacks to tell how these two people with vastly different views find love for each other while the present time of their lives show a depressing moment in their lives where each of them is going through a very tough time due to their daughter's illness. Since they dominate the screen throughout the film, the chemistry between the two actors needed to click & it turned out to be very good indeed as both have done a fabulous job at it.
On an overall scale, The Broken Circle Breakdown is a wonderful film to come out from Belgium and is one of that nation's finest film in years. The issues it deals with, including the little conflicts between religion & science, are pretty universal and easy to connect with. Plus, the entire plot is so efficiently propelled by its remarkable music that it's arguably the finest use of country songs in a film. The scene ordering is messy & poorly done and might become challenging for its viewers, but all in all, The Broken Circle Breakdown is a really good film that fared much better than what I was expecting from it and is definitely worth a watch.
A very nicely written story that is even more beautifully invigorated on the screen by the director and with the help of strong performances from the cast & exceptional use of music, it brings alive a grounded life of two very different people trying to live their life together. The experience of watching this film is going to be sad, there is no doubt about it, but it doesn't mean the movie is all gloomy because there are some moments in the film that'll have you humming with its tune without you being aware of it.
The performances by Johan Heldenbergh & Veerle Baetens as Dieter & Elise, respectively, is absolutely riveting. Elise is a religious realist who works as a tattoo artist. Dieter is a romantic atheist who is a banjo player in his bluegrass band. The film makes use of flashbacks to tell how these two people with vastly different views find love for each other while the present time of their lives show a depressing moment in their lives where each of them is going through a very tough time due to their daughter's illness. Since they dominate the screen throughout the film, the chemistry between the two actors needed to click & it turned out to be very good indeed as both have done a fabulous job at it.
On an overall scale, The Broken Circle Breakdown is a wonderful film to come out from Belgium and is one of that nation's finest film in years. The issues it deals with, including the little conflicts between religion & science, are pretty universal and easy to connect with. Plus, the entire plot is so efficiently propelled by its remarkable music that it's arguably the finest use of country songs in a film. The scene ordering is messy & poorly done and might become challenging for its viewers, but all in all, The Broken Circle Breakdown is a really good film that fared much better than what I was expecting from it and is definitely worth a watch.
So much potential, but ..
moviebuf-814-7396071 March 2014
Warning: Spoilers
The film tries to be a powerful emotional drama, brightened by beautiful bluegrass music. For the most part, the film really delivers on its emotional promise. Unfortunately, some of the most emotional scenes seemed to be out of the lead actors' emotional ranges. This results in an unnatural, woody feel to some of the scenes, which is more reminiscent of a high school play than an Oscar nominee.
The support characters (with the notable exception of the bluegrass band) delivered bland and unnatural performances. Especially the medical and paramedical staff. This doesn't necessarily detract from the story, but it does make it harder to get emotionally involved with the film.
The last negative point is that the film contains several scenes that really should have been dropped on the editing room floor, but sadly weren't. GW Bush delivering his 9/11 speech on TV is a prime example. It detracts from the emotional drama that the film tries to be.
In spite of these negative points, it is a really good film. The music alone makes it worth while. Some of the cinematography is truly beautiful. And the drama, if you can get it in to, is powerful and painful.
Consider yourself blessed if you don't speak Dutch -- watching the movie with subtitles will at least cover up some of the woodier line deliveries.
The support characters (with the notable exception of the bluegrass band) delivered bland and unnatural performances. Especially the medical and paramedical staff. This doesn't necessarily detract from the story, but it does make it harder to get emotionally involved with the film.
The last negative point is that the film contains several scenes that really should have been dropped on the editing room floor, but sadly weren't. GW Bush delivering his 9/11 speech on TV is a prime example. It detracts from the emotional drama that the film tries to be.
In spite of these negative points, it is a really good film. The music alone makes it worth while. Some of the cinematography is truly beautiful. And the drama, if you can get it in to, is powerful and painful.
Consider yourself blessed if you don't speak Dutch -- watching the movie with subtitles will at least cover up some of the woodier line deliveries.
Lump in my throat
hedonismos27 March 2013
Warning: Spoilers
No spoilers here! Please go watch this beautiful Flemish masterpiece without learning anything about it's plot beforehand. The Broken Circle Breakdown is a very realistic, vulnerable and heartbreaking movie. The acting is second to none and I was completely overwhelmed by the convincing story. I don't think that even the most emotionally blocked person would not feel a lump in his or her throat at any time during this movie. I couldn't stop myself from shedding some tears, nor did I want to.
Warning: I had a pretty big dislike for Bluegrass music before watching the Broken Circle Breakdown. This movie completely turned that around!
Warning: I had a pretty big dislike for Bluegrass music before watching the Broken Circle Breakdown. This movie completely turned that around!
I don't understand the commotion about this movie in Belgium
scubapro3224 July 2013
Is this just me, because actually, I found this movie to be slow and a little bit boring. Every new scene you'll have to figure out where to place it in the time-frame. The lighting is occasionally bad, but this could be done on purpose? (filming against the light, in shadows without extra light, etc).
What absolutely is missing, is the spark between Baetens and Heldenbergh, even in the more sexual scenes. I hoped to see something like Joaquin Phoenix and Reese Witherspoon in 'Walk the Line', particularly in the music scenes, but alas. Maybe therefore I didn't found it to be emotional at all. Furthermore, I didn't find the blue-grass music scenes a surplus to the movie. I couldn't get the idea out of my head that the storyline was secondary to the music(scenes).
The religious outbreak of Heldenbergh is one for the deleted scenes. Sadly, this could have been so much more. A missed opportunity.
What absolutely is missing, is the spark between Baetens and Heldenbergh, even in the more sexual scenes. I hoped to see something like Joaquin Phoenix and Reese Witherspoon in 'Walk the Line', particularly in the music scenes, but alas. Maybe therefore I didn't found it to be emotional at all. Furthermore, I didn't find the blue-grass music scenes a surplus to the movie. I couldn't get the idea out of my head that the storyline was secondary to the music(scenes).
The religious outbreak of Heldenbergh is one for the deleted scenes. Sadly, this could have been so much more. A missed opportunity.
Highly overrated, deeply disappointing
swedeandsour8 February 2017
Warning: Spoilers
So many things wrong with this film. Where to start?
The script is weak to begin with and I'm surprised that so many people worked on something that resulted in this mess.
Maybe too many cooks? Perhaps. When you see the director writing the script, you start to wonder a little, but when the lead actor has a hand in the script, it's a serious red flag.
For one, they could've cut it better. The story does not need to be linear. For example, they could've shown a flashback of Elise moving furniture out, making us think that she's moving out, only to reveal that she's making room for the baby's room. Then show us the current time of Elise really moving out. Smart editing tricks like that. Events that trigger flashbacks and past-present parallels.
Then there are inexplicable things in this film. Didier rants about the US cutting spending on stem-cell research. Elise should've just told him that the US is not obligated to save a Belgian baby or spend money on cancer research. It is their country and their money. It doesn't matter what their reasoning is, whether it is Jesus or Santa. Europe is not a third world backwater. Elise should've told Didier that if he wants to research stem cells, he should perhaps study science rather than play in a band.
The child's battle with cancer is not explored. The child faced a dead-end with treatment. We could've seen something like this:
It would be better for the film to show something like this: Child: "I'm done. I want out. I can't take this anymore.. I won't get better." Dad: "How do you know you won't get better? You don't know that." Child: "The same way you know there is no God. I just do."
Didier wants his child to keep on believing and hoping when there is no doubt that death was imminent. Show him as a hypocrite who wants the child to believe in an unrealistic and impossible future but not an afterlife. If the child shouldn't believe in a life after death then how would she believe in ever seeing an 18th birthday when science says that won't happen? Didier's hypocrisy is never explored.
The parents' blame game was not explained. When Elise screams at Didier for his family having cancer genes he says nothing. He doesn't tell her "I told you I didn't want a baby. You insisted." This is all true, so why didn't he say it? She wanted a baby with a man with cancer genes. He told her he didn't want one. How can she yell at him for the child getting cancer?
Elise, the mother, drank and smoked while she was pregnant. Didier started drinking heavily near the end of the pregnancy and when Elise was in labor. Why not show these things? Why do we get this information through dialogue?
The news shown in the background could've been handled much better. In this film we first see news of 9/11 and the war on terror, which Didier ignored. Then we see the ban on stem-cell research which incensed Didier. It's too contrived. Didier's kid gets cancer, there's no hope but stem-cell research, then he turns on the TV and guess what? Bush banned stem-cell research. What are the chances?
A better way of showing all these things is to simply rearrange them. We see the war on terror and Didier is indifferent because it doesn't affect him. We then see Bush ban stem-cell research on the news and Didier is indifferent again because his kid doesn't have cancer and this means nothing to him. Then he hears of stem- cell research and discovers that it has been halted. Then he gets angry. Then subsequent news about the war in Afghanistan or Iraq would incense him even more, than money goes to death rather than saving lives. Make him a hypocrite, make him flawed. He didn't care about the halting of stem-cell research or the wars before, now it's all he talks about.
The rearrangement would've told a better story without adding anything new.
But the film is clearly on the side of Didier, rather than a neutral look at the situation.
The conflict between secularism and atheism in this film is not linear. Didier is angry at the Catholic church and certain American denominations (condoms, abortion, stem-cell research) but takes out his anger at his wife who believes in her own religion of reincarnation (her child could come back as a bird or star). He groups all faiths together, but that makes no sense. People that believe in reincarnation of children as birds are not the ones who halted stem-cell research.
Ranting at Belgians for the actions of Americans is like screaming at Indians for Japan's actions in WWII, or ranting at a Muslim belly dancer because of the Taliban's dress code or ranting at a Belgian director about this year's Oscars. Belgians, Christians or not, had nothing to do with the election of Bush or stem-cell research.
Didier is in an imaginary war against all faiths because his daughter died and the film presents him as somewhat reasonable by not having anyone challenge his beliefs or arguments. They are presented as valid. Some religious folks in one particular country stopped stem-cell research. Other religious folks in the US did not. The rest of the world had nothing to do with it either way, especially ones that believe in reincarnation-as-birds whose religion has nothing to say about any kind of research whatsoever. China, Japan and India are also religious and have non- rational belief systems. They're still doing lots of research. Why can't he see that?
Oh, because it's not relevant to the plot.
A highly-contrived religion vs secularism story filled with massive grouping of unrelated groups together, false equivalence, collective responsibility, etc.
The script is weak to begin with and I'm surprised that so many people worked on something that resulted in this mess.
Maybe too many cooks? Perhaps. When you see the director writing the script, you start to wonder a little, but when the lead actor has a hand in the script, it's a serious red flag.
For one, they could've cut it better. The story does not need to be linear. For example, they could've shown a flashback of Elise moving furniture out, making us think that she's moving out, only to reveal that she's making room for the baby's room. Then show us the current time of Elise really moving out. Smart editing tricks like that. Events that trigger flashbacks and past-present parallels.
Then there are inexplicable things in this film. Didier rants about the US cutting spending on stem-cell research. Elise should've just told him that the US is not obligated to save a Belgian baby or spend money on cancer research. It is their country and their money. It doesn't matter what their reasoning is, whether it is Jesus or Santa. Europe is not a third world backwater. Elise should've told Didier that if he wants to research stem cells, he should perhaps study science rather than play in a band.
The child's battle with cancer is not explored. The child faced a dead-end with treatment. We could've seen something like this:
It would be better for the film to show something like this: Child: "I'm done. I want out. I can't take this anymore.. I won't get better." Dad: "How do you know you won't get better? You don't know that." Child: "The same way you know there is no God. I just do."
Didier wants his child to keep on believing and hoping when there is no doubt that death was imminent. Show him as a hypocrite who wants the child to believe in an unrealistic and impossible future but not an afterlife. If the child shouldn't believe in a life after death then how would she believe in ever seeing an 18th birthday when science says that won't happen? Didier's hypocrisy is never explored.
The parents' blame game was not explained. When Elise screams at Didier for his family having cancer genes he says nothing. He doesn't tell her "I told you I didn't want a baby. You insisted." This is all true, so why didn't he say it? She wanted a baby with a man with cancer genes. He told her he didn't want one. How can she yell at him for the child getting cancer?
Elise, the mother, drank and smoked while she was pregnant. Didier started drinking heavily near the end of the pregnancy and when Elise was in labor. Why not show these things? Why do we get this information through dialogue?
The news shown in the background could've been handled much better. In this film we first see news of 9/11 and the war on terror, which Didier ignored. Then we see the ban on stem-cell research which incensed Didier. It's too contrived. Didier's kid gets cancer, there's no hope but stem-cell research, then he turns on the TV and guess what? Bush banned stem-cell research. What are the chances?
A better way of showing all these things is to simply rearrange them. We see the war on terror and Didier is indifferent because it doesn't affect him. We then see Bush ban stem-cell research on the news and Didier is indifferent again because his kid doesn't have cancer and this means nothing to him. Then he hears of stem- cell research and discovers that it has been halted. Then he gets angry. Then subsequent news about the war in Afghanistan or Iraq would incense him even more, than money goes to death rather than saving lives. Make him a hypocrite, make him flawed. He didn't care about the halting of stem-cell research or the wars before, now it's all he talks about.
The rearrangement would've told a better story without adding anything new.
But the film is clearly on the side of Didier, rather than a neutral look at the situation.
The conflict between secularism and atheism in this film is not linear. Didier is angry at the Catholic church and certain American denominations (condoms, abortion, stem-cell research) but takes out his anger at his wife who believes in her own religion of reincarnation (her child could come back as a bird or star). He groups all faiths together, but that makes no sense. People that believe in reincarnation of children as birds are not the ones who halted stem-cell research.
Ranting at Belgians for the actions of Americans is like screaming at Indians for Japan's actions in WWII, or ranting at a Muslim belly dancer because of the Taliban's dress code or ranting at a Belgian director about this year's Oscars. Belgians, Christians or not, had nothing to do with the election of Bush or stem-cell research.
Didier is in an imaginary war against all faiths because his daughter died and the film presents him as somewhat reasonable by not having anyone challenge his beliefs or arguments. They are presented as valid. Some religious folks in one particular country stopped stem-cell research. Other religious folks in the US did not. The rest of the world had nothing to do with it either way, especially ones that believe in reincarnation-as-birds whose religion has nothing to say about any kind of research whatsoever. China, Japan and India are also religious and have non- rational belief systems. They're still doing lots of research. Why can't he see that?
Oh, because it's not relevant to the plot.
A highly-contrived religion vs secularism story filled with massive grouping of unrelated groups together, false equivalence, collective responsibility, etc.
A Belgian masterpiece!
ahmedrashad6 March 2014
Few minutes after i started watching the movie, i realized that i am about to watch something unique . The movie will hit you with drama , you will cry ,you will laugh and you will fly with the human emotions. And yes, it's a pure melodrama that will continue to stir your brain till the up limits.
Not only the emotions part, but also the movie will make you question about god, morality and related stuff. The husband is an atheist and he had gone mad by the idea the scientific researches with stem cells are pending because of religious matters .
The film will never stop entertaining you , you will hear a nice music by the band that include the leading characters of the film.
I should tell you that the movie run back and forth so many times ,so you have to focus with every piece to get the idea and never get lost. ENJOY!!
Not only the emotions part, but also the movie will make you question about god, morality and related stuff. The husband is an atheist and he had gone mad by the idea the scientific researches with stem cells are pending because of religious matters .
The film will never stop entertaining you , you will hear a nice music by the band that include the leading characters of the film.
I should tell you that the movie run back and forth so many times ,so you have to focus with every piece to get the idea and never get lost. ENJOY!!
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