Die Perlenstickerinnen

I watched "embrodeuse" yesterday and today again with my wife as I recorded the TV broadcast. It was not like watching a movie, it was like being part of an event. And that event had drama, beauty, emotions all wrapped up in a slow paced almost real time short journey. A little like being in a sailing boat on a breezy but serene day and at nature's mercy and whim . There was no pretension, no excess (pas d'etat d'ame) Just characters going about their torments and eventually helping each other's. Yes it was slow, I understand in our busy generation it's not always appreciable to take time, there is so much to do! But those who can live with a slower pace will be rewarded. It is a simple and wonderful story unfolding in a postcard rural setting but once I have known such a place so I know it's real. Thank you to the person who reminded us that this is the grown up actress from "Monsieur Ibrahim..." I only watched a week ago but did not associate with as I was transported in another era. Some have mentioned "The Girl with a pearl earing" I have seen too but will need to access my memory bank for refresher...My dysfunctional brain does not have much regards for producers, unknown actors and other important people who make such work so enjoyable either. I won't apologise for it but non the less I appreciated it very much but in my own way, so did my wife and I hope you do too.

I first caught this film on French satellite TV about 20 min in. It drew me into its world in a few moments. I watched about half an hour more, and then was called away. Knowing that the particular channel that aired it repeats the same film in different timeslots over a month, I asked my other half to record it for me if they showed it again. "Is it good?" My response was more important than I realised at the time: "I don't know. I need to see it again." Since then I have learned that for me at least, that is the mark of a good film. A film that makes me think, that bears seeing again and again.

Claire,checkout girl at a hypermarket, discovers she is pregnant by a one-night stand (the butcher in the store). Like many young girls her age the world over, she does nothing, perhaps hoping the problem will "go away" or resolve itself, until it's too late to do much more than have the baby. She rejects the man's offer of help or money. "I'm not angry with you," she says, "just go away. I don't want to see you again."

She lives alone in a room in her small rural town; her parents live nearby, but in this film nobody seems to get along with their relations- -not Claire's family, not her wealthier best friend with her own brother (whose parents employ Claire's). Claire fears that her bid for independence will come crashing down, so she tries to follow her heart by seeking a job with Madame Melikian, a professional embroiderer whose son has just died in a crash. Madame M. is locked into her private grief and pain, but seeing Claire's need,takes her under her wing. The film deals with their friendship that blossoms as Claire's mind expands along with her womb. Claire in turn has the chance to bring Madame M. back among the living, helping her to heal the breach with her friend's brother who was also hurt in the crash. The two women end up working together to finish an important project that will weave their lives together inextricably.

The film doesn't resolve every issue, because life isn't like that. The moment you get a handle on one problem, another pops up--if not for you, then for someone you care about. It is beautifully filmed and we feel that however these people's lives play out, the results will be positive. I remember seeing a very young Lola Naymark as Kicup in "Les Nouvelles Tribus". That flaming red hair really is natural...and she is a natural actress who plays the truculent, lonely, frightened adolescent hiding her fear behind a facade of sullenness and "dumb insolence" to perfection. Her opposite, Ariane Ascaride, gives a wonderful performance as an adult who is just as frightened, and just as determined not to let her fears, loneliness and pain show.

The only weak point in this film is the soundtrack. The scratchy violin is just noise, adding nothing but an irritating distraction to the "creativity" scenes. And I hope that the only reason they included the horrendous rock song that accompanies Claire on her scooter is that they didn't have to pay royalties on it. If they did, it was money wasted.

"Brodeuses" (2004) aka "A Common Thread"- a first feature by Éléonore Faucher is a simple, moving and beautiful film about two unhappy and lonely women, a pregnant unmarried teenager Claire and Madame Mélikian (Ascaride), an older woman grieving over the death of her only son in a motorcycle accident. Claire becomes an assistant for Madam Melikian, an embroiderer for haute couture Parisian designers. Slowly, both women come to need and value each other; they form a close bond through their mutual love for embroidery. Their true friendship will be one of the reasons for Claire to make a very important decision about her future baby. Visually, the film is a work of an exceptional beauty. Almost unknown, it is as exquisite as "Girl with a Pearl Earring" - Lola Naymark (Claire) could've been easily a Vermeer's model with her face of rare charm that shines in every frame and her impossibly beautiful long red hair. Both Naymard and Ariane Ascaride (Madam Melikian) gave outstanding performances in the movie with no bad performances at all.

Here in Argentina this film goes by the title "La trama de la vida" (The weft of life), the french title could be translated in English as "The (women) embroiderers" (nouns in French have gender) Lovely film. Nice music composed by Michael Galasso (sounds like Arvo Pärt). Claire debates herself between giving her child in adoption or keeping it. The film builds up, step by step. Claire works in a supermarket but that's not what she wants to do in life, she wants to be an embroiderer. Being pregnant, being a teenager, living in a provincial town she must "take up arms against a sea of troubles". A brave and loving girl with determination. In this quest she also finds love.

Every so often a film comes along which qualitatively surpasses the overwhelming number of movies available. BRODEUSES is one which requires a super classification. It contains elements which I deem essential for films of merit: superior writing, exemplary direction, abundant understatement, good use of color, effective use of facial expressions and eye movement, and suspense in the form of an omnipresent question. The writing is to the point, and mindless chatter which one finds in so many film productions is non-existent in this one. What needs to be said, is said, no more or no less. Economy of dialogue is a virtue. The camera angles resulting from the direction draw the viewer into the scenes. I find myself wanting to keep Claire from falling of her scooter, or from sliding off the side of the mountain when harvesting cabbages. The understatement insures that there are no screaming parents, pouting children, or meddling yentas. Claire's plight becomes more obvious as the months past, yet no one judges or indictes. All seem to understand and to accept, and, except for and occasional facial expression or eye movement, no one reacts. However, it in the use of color that his film excels. Claire's red hair and her green coat are obviously complementary, and the embriodery is spectacular. The are dozens of other examples. And the unanswered question? There is more that one question left unresolved, and that is as it should be. This film is going on my "view often" list, if for no other reason than to reinforce my need for good art.