Uomini di Dio

In 1996, in Algeria, eight French monks of The Monastery Notre-Dame de l'Atlas of Tibhirine have a simple life serving the poor community that was raised around the monastery. During the Algerian Civil War, they are threatened by terrorist but they decide to stay in the country and not return to France.

One night, the extremists break in the monastery and abduct seven monks. A couple of months later, they are found dead in controversial circumstances.

"Des hommes et des dieux" is a film based on a true story and supported by top-notch performances. The official and non-official versions of the death of the Tibhirine priests can be found in Internet. My vote is seven.

Title (Brazil): "Homens e Deuses" ("Men and Gods")

The plot of this film can be summarised as: Christian monks live peacefully in Muslim country, political situation changes, monks have to decide whether to leave or to stay. Boring, you may say, nothing happens, you may say and, in one sense you'd be right. But..... The point about this film is not the plot. What this film acknowledges is that the real drama of human existence is internal, the real action in our lives takes place inside of us and the real journeys that we make are in our minds and our souls. This is a film about relationships, between different communities, between individual members of the same community, between individuals and God and between individuals and themselves. This is a film about identity and place - two things we all have in common, like it or not. Personally, I found the religious aspect of the film intriguing. We live in a world in which religion is, again, being used to justify momentous acts. An analysis of how that works and what it means has to be relevant. But even if you are not interested by this, or are, as I know many people are, turned off by the mention of the words "religion" or "God" what the film does is to allow it's audience to begin to look behind these literal concepts at how the spiritual (whatever that might mean to you) functions in our daily lives. So, 9/10. 10/10 is very tempting but the film is not perfect. It would probably be boring if it was and a very definite recommendation. Oh, and by the way, it has some beautiful scenery, some stunning and innovative cinematography and some crackingly good looking men.

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.

This film appealed to me in several ways. I liked the direct, intimate approach in the way it was filmed. It was very refreshing to see hymns used as a big part of the soundtrack, very different as to what you usually hear :)

In the cinema where i was watching the film, the average age must have been a lot higher than usual, and a few seats away, someone was even quietly singing along with some of the hymns, very bizarre feeling in a cinema!!

I liked the fact that they treated the subject of faith and the possibility of coexistence of Christianity and Islam, as well as the differences, in a very simple, every-day-life-way.

What was new to me was the visualization of fraternity. This aspect was a big thing throughout the whole movie. It is one of the things i least understood about priests and monks until now. It was amazing to see this feeling i have never personally experienced come alive on the screen and sort of being able to feel it myself.

I also liked that they used 'real' people and not pretty Hollywood types, but i suppose that is normal in a production like this.

I liked that a lot was left unspoken, unexplained and open for various interpretations.

The scenes i liked best was the one where: *the abbot was at a lake to find inspiration for his tough decision. *the 'last supper' with the close-ups of the monks' faces and the ballet music *the terrorist and the abbot talk about the birth of Jesus *the ending (usually i don't like abrupt and vague endings like these, but in this film it was bearable and befitting, because in real life it is also still unknown what exactly has happened).

As Vivekananda has said, "The intensest love that humanity has ever known has come from religion, and the most diabolical hatred that humanity has known has come from religion." Both of these elements are present in Xavier Beauvois Of Gods and Men, the story of seven Roman Catholic French Trappist monks kidnapped by radical Islamists from their monastery in the village of Tibhirine in Algeria during the 1990s Algerian Civil War. The film depicts the sacrifices people of good will in both religions are willing to make for each other, and that the separation between religions is not an unbridgeable gap.

Winner of the Grand Prix at the 2010 Cannes Film Festival, Of Gods and Men stars Lambert Wilson as Christian, Prior of the monks, and 79-year-old Michael Lonsdale as a world weary medic who treats up to 150 Moslem villagers each day. The film derives its title from the Book of Psalms, Psalm 82:6-7 quoted at the beginning of the film: "I have said, Ye are gods; and all of you are children of the most High. But ye shall die like men, and fall like one of the princes." Filmed in Morocco, the film shows the daily life of the Trappist monks before the terrorist threat becomes real.

Though a large part of their day consists of contemplation and devotion, living in close contact with the Muslim population allows them to interact with them in a positive way, healing the sick, selling honey in the nearby markets, and caring for the aged. In addition, daily chores such as cooking, gardening, loading wood for the fireplace, and cleaning take up a large part of the day. Soon word gets around about the murder of European workers on a construction site by the terrorists and the monks recoil in horror when they learn about the stabbing of a woman riding on a bus by Islamic fundamentalists simply because she was not wearing a veil.

The Algerian government asks the monks to leave for their own safety but Christian tells them that their calling is to serve the people of the community and he insists on remaining, though he is willing to let the other monks decide. The issue becomes suddenly more immediate when a group of fundamentalists show up at the monastery on Christmas Eve demanding medicine for their wounded colleagues. Though the request is refused, Christian quotes the Koran to their spokesman Ali Fayattia (Farid Larbi) and they end up shaking hands, though the Prior senses rightly that they will be back.

When all agree that they will not abandon the monastery even at the risk of death, the dramatic high point of the film is reached when the monks recreate the Last Supper by sitting around a small table drinking wine and listening to a recording of Tchaikovsky's Swan Lake ballet. As the camera pans from face to face, we can observe a beatific smile on some faces and tears on others, demonstrating an inner poetry and reverence for life. The monks are not Christian moralists but spiritualists confronting the extremes of the human condition, characters who point the way to overcoming despair.

The monks, like the Curé de Torcy in Bernanos' Diary of a Country Priest, love poverty "with a deep, reasoned, lucid love as equal loves equal", expressing the eternal struggle of the spirit to know Christ and to come to terms with his anguish. The heroes of the film are not saints. They are flesh and blood human beings, full of ambiguity and fear, but never far from compassion and humility, willing to offer us the possibility of a world transformed by grace.