Des hommes et des dieux

The other day I watched the film Compliance, which tells a true story in the form of a drama. I didn't find much in the film and wondered why it added nothing to the events other than showing them. I mention this because the opposite is true with Of Gods and Men. Here we have a true story told but done in a way that adds to the characters, engages the viewer and has room for thought. The priests of the story struggle with whether or not to leave their monastery in Algeria once it becomes very dangerous due to the actions of fundamentalists in the region. This is the majority of the film in a nutshell and as such it is perhaps not a film that could stand a mass audience.

I don't say this in a condescending way, but just that the film is probably too slow for the casual viewer – not that others "won't get it" or any such nonsense as that. I liked the film but even for me there were times where it lingered too long or spent too long showing us certain aspects of life in the monastery. It did feel longer than 2 hours and I think this is mostly down to the fact that the whole film has a very slow pace and very gentle delivery. The upside of this is that it does have more emotional impact as a result – because the characters are clearer, we understand their minds and I enjoyed that I was able to see their struggle and also understand the reasons for their decisions because I had seen the role they played.

The film matches the slow pace with some beautiful shots; visually it is a very still film and it does feel at times that it is like a great painting, with the use of light and atmosphere. The performances are where the film delivers best though. Everyone is strong and seems to have understood their characters very well because they are convincing and engaging. The ballet music meal towards the end of the film is the best example but there are plenty of equally strong and expressive moments throughout.

It is a slow film and even though I liked it, I did still struggle with the glacial pace at times. It rewards and satisfies at the same time, but a few times you do need to stick with it while it unfolds slowly.

Chris Morris's debut Four Lions (2010) found fame in it's irreverent portrayal of Islamic fundamentalism in Yorkshire: the headlines that accompanied Brass Eye (1997-2001) successfully carried on into a low-key marketing campaign in that debut feature. Beauvois' film isn't so much a farcical account of the spiralling contradictions of religious extremism. But it does share its preoccupation with exactly how far one, or rather a small community, can go to devote themselves to their beliefs.

The film is located in the 1996 Algerian Civil War, and tells the true story of a monastery under threat from the Armed Islamic Group of Algeria (GIA). Dom. Christian (Lambert Wilson) takes it upon himself to express their intentions to ignore the threats, and continue their mission of goodwill. This is disputed by the group throughout, whose dilemma forces some of them to question their allegiance to God, and jeopardise their own health (as with the outstanding Michael Lonsdale's, Luc). Coping with the sacrifices involved in such an all-consuming faith is key to the themes here ("We're not here for martyrdom" reminds Christian), and it's difficult to recall a more delicate, understated study. An excellent example of Beauvois' achievement, both visually and performance-wise, is the kiss Luc places on the mural of Christ. Moments like this underline the dependency they all share on one thing alone: their religion. It looms over them, both haunting and cradling them throughout, like the vast, unspoiled skylines which constantly diminish them beneath - Caroline Champetier's cinematography is key to the affect created.

Tranquil moments like Luc's, where the viewer is allowed in such close, personal space, are almost unsettling in the access that's granted. The beauty achieved in these meditative scenes is all the more striking as we're reminded that these men are nearing the end of their lives. Death is always present – from direct representation (as with the brutal throat-slitting of the Croat workers) to the indirect (the technique of cutting from the most tranquil scene to the loudest, most destructive scene).

The film is an anti-thriller in its treatment of fear and terror - the key moment occurs before the half-way point, and the viewer is left fearing for a reprisal for the duration. Beauvois' alternative narrative, featuring a fairly clear split down the middle, also featured in his previous Don't Forget You're Going to Die (1995) and To Mathieu (2000). Similarly, more recently, Mia Hansen-Love's Father of My Children (2010) involved a number of characters picking up the pieces in the wake of death. French colonialism in Algeria is only once directly attacked, when the police chief demands they leave. However, when viewed in a similar light to, say, Hidden (Cache, Michael Haneke, 2005), the occupation these men choose, the service they provided, the sacrifice they made, could too, easily be forgotten. So while the terrorism fears, today shared globally, are a focal point, a narrative of this kind reminds one not to forget the horrors of the past.

Of Gods and Men is testament to a thriving New French Cinema. Thought-provoking, rich in content both (formally and thematically), it's difficult to find fault with a film that so meticulously justifies its choices: the landscape is artwork, the tone is perfect, and the performances are achingly affective throughout.

I seem to fall between the two camps of critical reaction. The majority who feel this is a classic, great film, or a sizable minority who call the film boring, historically inaccurate, and all surface.

I find myself agreeing with some points made by the critics, e.g., being bothered that the film never really examines how hated the French were for their earlier colonialism. That larger context is part of what makes these Brothers targets. One passing mention is hardly enough to deal with a huge element of the underpinnings of the story.

You could use it to make the Brothers seem even more brave and to more deeply understand that they took a risk to reach out and just be there even before things get 'bad', and/or to make the hatred they faced from the terrorists and the Army not just seem random.

To be clear, that hatred is unforgivable. But understanding how something happened, or why your enemy hates you doesn't equal forgiving terrorism. But is part of the path to peace. And it is something these wise, well read monks would have known about and must have been part of their thoughts and discussions, though its largely avoided here.

I also agree that the film is slow in parts, sometimes needed to establish the rhythm of the monks' lives, but other times getting repetitive with no seeming advantage.

In addition, besides the two main characters, the other monks are largely one-note sketches, and the sudden turn around of those who wanted to leave – maybe the most fascinating action in the film - is largely under explored, Some of the time spent used on repeated rituals or re-tread conversations could have been used to deepen the understanding of those men and their heartrending confusion.

It also bothered me that those who wanted to leave are never given the strong or convincing arguments they easily could have. They're almost made to seem cowardly, or 'wrong'. The film could have gone further in it's compassion towards these men, and understanding that this was a complex decision, even on a theological level. When does God want us to martyr ourselves and when would God rather we not sacrifice the gift of life to find a way to live to fight another day? I can think of a number of third choices between surrender and simply running away. These men must have examined those options, but there is little sign of it here. I have no problem with the film's conclusion, but I wish it had felt both sides presented with equal weight and seriousness, as I assume must have happened among the real monks.

But my biggest problem is that the film's style, while inviting thought, is somewhat emotionally distancing, so while my brain was deeply engaged, my heart was less than I wish it was. I wanted to weep for these men and for the world, but I found myself more caught in mind than in emotions. I believe the story was strong enough to carry both.

Now, all that said, I still think, unlike many of the professional critics that raised these points, that this is a very, very good film, made with intelligence and passion. It is visually simple but stunning to look at. Its slow pace adds to the meditative, un-Hollywood feel that eschews inflating drama for its own sake, and allows us a taste of the peace these men experience by living in their simple, giving way, even in the midst of war. And there are scenes of sheer brilliance, where whole stories are told on peoples' faces with little or no dialogue. Scenes where a combination of photography and acting capture a huge range of complex emotions. We watch fear, joy, transcendence, defeat, and loss run through the hearts of these men within seconds of each other without a word needing to be said, That is film-making of a high order.

Ultimately, this is a film that deserves and needs to be seen. A plea for peace and courage in the face of hatred. But that doesn't mean it isn't a flawed work, or that acknowledging those flaws dismisses those very good things the film does accomplish.

At the strong recommendation of the panel of 'Le Masque et La Plume' I went to see this film.

I was struck by, as others have said here, the fraternity that existed between the priests. I thought the most interesting aspect of the film was the relationship between the priests. At times you can feel the tension because of the strong decision they had to make. Also it being 7-8 men living together it was interesting to see the different personalities in a group environment; you have the natural leader, the introverted, the brave, the scared etc.etc.

I imagine like most people who've seen this film the performance by Wilson Lambert was very touching. He was totally believable as the cloister's leader.

Unfortunately the church is undergoing a very hard time in regards mostly to child abuse, it's nice to have a reminder of the positive aspects. I myself went to a catholic school with some Brothers and a monastery on campus. I have a very positive image.

Particular favourite scenes are when they prepare and sell the honey at market and of course when they listen to Swan Lake and enjoy a glass of wine.

¨Des Hommes et Des Dieux¨is a magnificent religious picture about faith and sacrifice . Under threat by Islamic terrorists, a group (Laudembach , Rabourdin , Herlin, Pichon , Maly) of Trappist priests ( led by Lambert Wilson) stationed with an impoverished Algerian society must decide whether to leave or stay .French priests are living, working and praying in a catholic monastery in Algeria in the 90s during civil war and while help by various means to Algerian people , as the doctor monk (Michael Londsdale) heals ills , and other teaches and writting letters for the illiterate people . It starts showing how the Islamic locals and the Christian community coexist in harmony. The situation with the Algerian Fundamentalist-terrorists turns worse . They are very much appreciated by the local Arab population, but very much in danger . This becomes clear after some Croation workers are cruelly murdered by the guerrilla-forces. At some point they are threatened and unwanted by both guerrilla-fighters , the government and Military ,their presence results to less and less sure and obvious . In the end they are all can be kidnapped by the terrorists to swap them for their own prisoners in France or hidden or getting freedom to God.

This spiritual film is full of good feeling , stern life , touching sacrifice , and enjoyable relationship among monks . It describes their simple and austere existence only threatened by Islamism and intolerance , but they will have to decide whether to stay or go back to France . Tension and drama enhances when intense confrontations take place with each other, the terrorists and the locals, they all decide to stay. Sensational performances from main cast as Lambert Wilson and Michael Lonsdale along with the remaining monks as Rabourdin , Laudenbach ,and Pichon . Special mention for Jacques Herlin as a likable old priest , Herlin is a veteran secondary actor continuously working from the 60s . Sensitive and religious music score based in Gregorian songs . Very good and extraordinary cinematography filmed on location in Tioumliline Monastery, Azrou, Morocco . This powerful picture was stunningly directed by Xavier Beaouvous , a good actor , writer and director . Rating : Better than average ; well worth watching , because being plenty of luminous sensibility , brotherhood , love , holy feeling, faith and martyrdom.