Carmen

Carmen is a film about faith and kindness, lonliness and love.

It's a quirky and charming comedy drama about a lady named Carmen who hasn't been dealt the best cards in life. But with the passing of her brother , the priest, she finds new possibility in her lonely adventure.

Certainly this film makes some light hearted pokes at Catholicism, but it's all very much in good spirit. Essentially suggesting that religion is also about fun and that surely, the Lord wants us to happy, even if he has mysterious ways of showing it.

The music is lovely, the scenery is pleasantly mediteranean, and the soul is very much that of a 1960's quaint romance, with a touch of tradgedy.

Carmen is a warm and endearing film that will leave you with a smile on your face and a chuckle in your tummy.

Check it out, it's nice. :-)

I'm a big fan of Natascha Mcelhone and I'm so glad I have seen her performances in other films, before watching this. I can't remember having dragged myself through a worse movie in many, many, many years. It's awful. The story is thin at best and the acting is amateurish beyond belief and the songs from this will keep me up at night for weeks to come. Scenery is nice though, that's it. I'm sorry, but there's absolutely nothing to like about this movie, except for how gorgeous Natasha McElhone looks, while she does her lines with a bad accent. I've seen school plays more convincing than this garbage. Please do not trust high star reviews of this, you will not be rewarded for your time, nor patience.

Since the late WWII period, when she was 16, Carmen has been the unpaid housekeeper for her brother, the local priest. When he dies suddenly in the 1980s, a local woman's brother is supposed to be the replacement priest, and that woman will act as his housekeeper, displacing Carmen. The Catholic Church hypocritically and heartlessly throws Carmen out on the street, where she has various adventures and misadventures, helped in part by her knowledge of church processes.

Her backstory is that her life was saved by a young Arab, with whom she fell in love, and with family opposition, her role as housekeeper was the equivalent of "get thee to a nunnery".

Carmen's transformation from dour housekeeper to glamorous woman was a delight, as was the scenery. While this was "based on a true story", I wonder how much is fiction. Carmen seems to be good at giving advice to others, while she seems so naive herself. Meanwhile, the ending is a tad too Shakespearean for me.

When the priest of a small Maltese parish dies, his longtime caretaker and housekeeper (his younger, now-spinsterly sister) finds herself without living or working arrangements. What is she to do to support herself? Such is the lot of Carmen, the title character of this slightly whimsical but vastly underdeveloped, allegedly fact-based tale of a woman seeking to discover and reinvent herself at middle age. Writer-director Valerie Buhagiar's latest tries to keep its story light and bouncy, but it often does so without much direction, purpose or follow-through with regard to the various disconnected incidents that arise. It's almost as if the picture is trying to get by on a bucket full of charm and the frequent employment of synchronicities, many of which are supposed to seem meaningful but often go without explanation. The result is a largely pointless exercise in trying to tell a tale that should be full of warmth, fun, lightheartedness and redemption. It's also a missed opportunity to showcase the talent of Natascha McElhone in what should have been one of her best performances in years. But, as it plays now, "Carmen" is, regrettably, more like an inside joke that most of us are being left out of.

In a year of really terrific films, Carmen stands out as one of the most endearing, fresh, and unique stories that has made its way to the screen in 2023.

Set in 1980s Malta, on the historically infused island of Gozo, this tale of a woman doomed for life by the tradition of having to serve to her brother's needs while in his position as a Roman Catholic priest may seem, at first, somber. But when she is released from her servitude by her brother's unexpected death, her life spirit is awakened while discovering the world to which she was denied access for her entire adult life.

The film is filled with whimsy, humor that made me laugh out loud repeatedly, and clever and inspired synchronistic plot elements. It's quirky, it's delightful, it's sweet, and it's a brilliant gem that deserves an audience.

Besides the refreshing story, star Natasha McElhone shines, as she always does, but the way in which she transforms in this film is extraordinary. She plays the lead character with such empathy and conveys a spirit of child-like discovery - as if she was entering the world for the first time. At the same time, she is so believable that when we see her character also being very resourceful and clever, it feels authentic. And besides McElhone, there isn't a flawed performance in the film.

To add to the outstanding performances, the setting of Gozo in the Maltese archipelago is breathtaking. As viewers, we not only discover the traditions of Malta, but also the magnificence of its sweeping and enigmatic landscapes and enchanting towns. Everything comes together giving the audience a magical and uplifting experience. Yet it also reveals archaic and dark practices of the Catholic church from an observational perspective rather than from a judgmental one.

This is a film that I haven't hesitated in the least recommending to everyone I know. It's rare to find such ebullience in such an intelligent script about a woman who finds her voice and place in a world still all too fraught with damaging patriarchal structures. Bravo to writer/director Valerie Buhagiar for sharing a story inspired by her own aunt's challenging circumstances in such a creative and heartfelt way.