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6,8/10
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Segue Rama, uma romancista que assiste ao julgamento de Laurence Coly no Tribunal Criminal de Saint-Omer para usar sua história para escrever uma adaptação moderna do antigo mito de Medeia, ... Ler tudoSegue Rama, uma romancista que assiste ao julgamento de Laurence Coly no Tribunal Criminal de Saint-Omer para usar sua história para escrever uma adaptação moderna do antigo mito de Medeia, mas as coisas não saem como o esperado.Segue Rama, uma romancista que assiste ao julgamento de Laurence Coly no Tribunal Criminal de Saint-Omer para usar sua história para escrever uma adaptação moderna do antigo mito de Medeia, mas as coisas não saem como o esperado.
- Direção
- Roteiristas
- Artistas
- Prêmios
- 21 vitórias e 48 indicações no total
Alain Payen
- L'éditeur
- (narração)
Louise Lemoine Torrès
- Maître Darcourt
- (narração)
Avaliações em destaque
Rama (Kayije Kagame), a Parisian of Senegalese heritage, is a literature professor and novelist. For a writing assignment, she travels to the French municipality of Saint-Omer to observe the infanticide trial of Laurence Coly (Guslagie Malanda), a Senegalese immigrant. (Rama is the on-screen surrogate for director/co-writer Alice Diop who observed the real-life infanticide trial of Fabienne Kabou in 2016.)
Diop is very astute at creating tension in various scenes. This is especially so during an interrogation scene between the judge (Valérie Dréville) and the defendant early in the film. This scene is relatively long but Malanda and Dréville play it so perfectly that it becomes riveting rather than dull.
The character of the defendant is an enigma: at times, one can feel sympathy for her despite so much evidence against her. Her backstory is also fascinating regarding the pressures placed on her as a girl in Senegal whose mother demanded much of her regarding education choices and politeness all with the plans of Laurence having "a better life". Rama's response to the trial is also intriguing as she has trouble digesting noticeable similarities she has with the defendant.
The cast is superb in this film. In addition to Kagame, Malanda, and Dréville, there are also notable performances from Xavier Maly (Laurence's partner), Aurélia Petit (the defense attorney), and Salimata Kamate (Laurence's mother).
There are some loose ends in the film including the relationship between Rama and her mother but overall "Saint Omer" is one of the best courtroom dramas since the Israeli film "Gett: The Trial of Viviane Amsalem" which was released in 2014. - dbamateurcritic
RATING: 9 out of 10
OUTSTANDING ACHIEVEMENT: Acting Ensemble.
Diop is very astute at creating tension in various scenes. This is especially so during an interrogation scene between the judge (Valérie Dréville) and the defendant early in the film. This scene is relatively long but Malanda and Dréville play it so perfectly that it becomes riveting rather than dull.
The character of the defendant is an enigma: at times, one can feel sympathy for her despite so much evidence against her. Her backstory is also fascinating regarding the pressures placed on her as a girl in Senegal whose mother demanded much of her regarding education choices and politeness all with the plans of Laurence having "a better life". Rama's response to the trial is also intriguing as she has trouble digesting noticeable similarities she has with the defendant.
The cast is superb in this film. In addition to Kagame, Malanda, and Dréville, there are also notable performances from Xavier Maly (Laurence's partner), Aurélia Petit (the defense attorney), and Salimata Kamate (Laurence's mother).
There are some loose ends in the film including the relationship between Rama and her mother but overall "Saint Omer" is one of the best courtroom dramas since the Israeli film "Gett: The Trial of Viviane Amsalem" which was released in 2014. - dbamateurcritic
RATING: 9 out of 10
OUTSTANDING ACHIEVEMENT: Acting Ensemble.
Saint Omer is a 2022 French legal drama film directed by Alice Diop and starring Kayije Kagame and Guslagie Malanda. It is based on the true story of Fabienne Kabou, a mother who left her 15-month-old daughter on a beach to be drowned by the tide in 2013. The film follows Rama (Kagame), a pregnant novelist who attends the trial of Laurence Coly (Malanda), the fictionalized version of Kabou, to write a modern adaptation of the ancient Greek myth of Medea, who killed her children to punish her unfaithful husband.
Saint Omer is a powerful and nuanced exploration of the complex issues of motherhood, immigration, identity, and justice. Diop, known for her documentaries, brings a realistic and empathetic approach to the story, avoiding sensationalism and judgment. She also attended the real trial of Kabou in 2016, which inspired her to make the film. The film does not attempt to justify or condemn Coly's actions but rather to understand her motivations and circumstances.
The story is divided into two parts: the first one focuses on Rama's perspective as she observes the trial and interviews Coly in prison, while the second one shifts to Coly's flashback as she recounts her life in France and Senegal, her relationship with her partner and daughter, and her mental state leading up to the crime. The film contrasts Rama and Coly to highlight their similarities and differences as women of Senegalese origin living in France. Both face racism, sexism, isolation, and pressure from their families and society but have different privileges, opportunities, and choices.
The movie also draws parallels between Coly's story and the Medea myth, showing how both women are driven by love, betrayal, anger, and despair to commit an unthinkable act. The film uses references to Medea throughout, such as the names of the characters (Rama is an anagram of Mara, Medea's sister), the locations (Berck is similar to Corinth, where Medea killed her children), and the dialogue (Coly quotes lines from Euripides' play). The film also shows how Rama uses the myth to cope with her fears and doubts about becoming a mother.
Saint-Omer features excellent performances from the two lead actresses, who convey a range of emotions with subtlety and intensity. Kagame portrays Rama as a smart, ambitious woman who is also vulnerable and conflicted. Malanda portrays Coly as a tragic and complex figure who elicits sympathy and horror. The film also has a strong technical aspect, with beautiful cinematography by Claire Mathon (who also shot Portrait of a Lady on Fire), an atmospheric score by Thibault Deboaisne, and tight editing by Amrita David.
The one thing that undermines the greatness of Saint-Omer is the pacing. The first time I watched the film, I found the pacing unbearable. But, I decided to see it a second time, embraced the slowness, and found I was noticing aspects of the story I had missed the first time. I think, though, that the pacing will be a challenge for some viewers.
Saint Omer is a film that challenges us to think beyond the headlines and stereotypes and confront our biases and assumptions. The film raises questions without giving easy answers and invites empathy without condoning violence. It is a film that shows how art can be a way to deal with trauma and pain and how it can be insufficient or inadequate. It is a film that was with me long after it ended - the second time around.
Saint Omer is a powerful and nuanced exploration of the complex issues of motherhood, immigration, identity, and justice. Diop, known for her documentaries, brings a realistic and empathetic approach to the story, avoiding sensationalism and judgment. She also attended the real trial of Kabou in 2016, which inspired her to make the film. The film does not attempt to justify or condemn Coly's actions but rather to understand her motivations and circumstances.
The story is divided into two parts: the first one focuses on Rama's perspective as she observes the trial and interviews Coly in prison, while the second one shifts to Coly's flashback as she recounts her life in France and Senegal, her relationship with her partner and daughter, and her mental state leading up to the crime. The film contrasts Rama and Coly to highlight their similarities and differences as women of Senegalese origin living in France. Both face racism, sexism, isolation, and pressure from their families and society but have different privileges, opportunities, and choices.
The movie also draws parallels between Coly's story and the Medea myth, showing how both women are driven by love, betrayal, anger, and despair to commit an unthinkable act. The film uses references to Medea throughout, such as the names of the characters (Rama is an anagram of Mara, Medea's sister), the locations (Berck is similar to Corinth, where Medea killed her children), and the dialogue (Coly quotes lines from Euripides' play). The film also shows how Rama uses the myth to cope with her fears and doubts about becoming a mother.
Saint-Omer features excellent performances from the two lead actresses, who convey a range of emotions with subtlety and intensity. Kagame portrays Rama as a smart, ambitious woman who is also vulnerable and conflicted. Malanda portrays Coly as a tragic and complex figure who elicits sympathy and horror. The film also has a strong technical aspect, with beautiful cinematography by Claire Mathon (who also shot Portrait of a Lady on Fire), an atmospheric score by Thibault Deboaisne, and tight editing by Amrita David.
The one thing that undermines the greatness of Saint-Omer is the pacing. The first time I watched the film, I found the pacing unbearable. But, I decided to see it a second time, embraced the slowness, and found I was noticing aspects of the story I had missed the first time. I think, though, that the pacing will be a challenge for some viewers.
Saint Omer is a film that challenges us to think beyond the headlines and stereotypes and confront our biases and assumptions. The film raises questions without giving easy answers and invites empathy without condoning violence. It is a film that shows how art can be a way to deal with trauma and pain and how it can be insufficient or inadequate. It is a film that was with me long after it ended - the second time around.
The difference between passing judgement and serving justice is at the heart of this incredibly moving film. Laying open social issues surrounding isolation, education, assimilation, and culture, whilst taking them apart word by word is beautiful to watch. And extremely emotional to experience. With restraint and very few words, the story of two seemingly connected Senegalese women living in France cross roads with the mythical Medea in a tragic tale of loss. The actors are powerful and I found myself engrossed watching the film even more the second time around. This one is not for the faint hearted.
"Saint Omer" is a powerful and thought-provoking film directed by accomplished documentary filmmaker Alice Diop. The film is based on the true story of Fabienne Kabou, a French-Senegalese woman accused of killing her infant daughter and leaving her to drown on a beach. Diop has created a film that leaves the audience with more questions than answers, but it is this approach that allows the film to resonate with anxieties and the undertow of subterranean influence. The film stars Kayije Kagame as Rama, a novelist and professor who is drawn to attend the trial, and Guslagie Malanga as Laurence, the accused woman in the dock. The film's cinematography by Claire Mathon is stunning, and the performances by the lead actors are outstanding. "Saint Omer" is a film that will stay with you long after you've left the theater.
This paints a clear picture of how commonly forced social norms and cultural barriers can largely effect people leading to deplorable acts of violence, almost like a curse that cannot be broken.
I loved what this film presented, a well written, acted and precise story that delivers an interesting broken individual filled with misery. I just wish there was a bit more going on overall with its shot composition, which does the job nicely but in no way stands out, and with it's narrative that, as intriguing as it was, (in my opinion) gave everything it had to give with one viewing.
A good companion piece to Anatomy of a Fall.
I loved what this film presented, a well written, acted and precise story that delivers an interesting broken individual filled with misery. I just wish there was a bit more going on overall with its shot composition, which does the job nicely but in no way stands out, and with it's narrative that, as intriguing as it was, (in my opinion) gave everything it had to give with one viewing.
A good companion piece to Anatomy of a Fall.
Você sabia?
- CuriosidadesThe film is based on the true story of Fabienne Kabou, a mother who, in 2013, abandoned her 15-month-old daughter on a beach in Berck-sur-Mer at high tide. Alice Diop, the film's director and co-writer, attended the trial.
- ConexõesFeatures Medéia, a Feiticeira do Amor (1969)
Principais escolhas
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- How long is Saint Omer?Fornecido pela Alexa
Detalhes
- Data de lançamento
- País de origem
- Central de atendimento oficial
- Idiomas
- Também conhecido como
- 聖奧梅爾殺嬰案
- Locações de filme
- Empresas de produção
- Consulte mais créditos da empresa na IMDbPro
Bilheteria
- Faturamento bruto nos EUA e Canadá
- US$ 213.953
- Fim de semana de estreia nos EUA e Canadá
- US$ 69.232
- 15 de jan. de 2023
- Faturamento bruto mundial
- US$ 953.502
- Tempo de duração2 horas 2 minutos
- Cor
- Proporção
- 1.85 : 1
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