Perder a Razão

What happens when a boy and girl meet from different cultures?

The excitement, the thrill, the joy of falling in LOVEz and spending life together. The dreamZ - the future plans etc.

Years go by - the babies are born, the work and life eats up the relationship The evil of time - deteriorates and suffocates everything we stood for.

This movie is about two lovers - Mounir (Tahir Rahim) a Morrocan immigrant living in Belgium and a Belgian girl Murielie (Emilie Dequence) falling in LOVEz and supported by the God-father of Mounir - Dr. Andre (Niels Arestrup) from being a catalyst in forming their LOVE-bond to blessing the couple to being with them in their honeymoon, to giving them shelter, money, food and even supporting their children.

Then what could go wrong? Murielie wanted freedom as a couple to live alone - and enjoy life, away from Dr.Andre - who uses kindness as blackmail and trap the young couple. Murielie feels suffocated and whenever she discusses with Mounir he always takes sides of Dr.Andre. Thus slowly and slowly Murielie feels isolated, disintegrated, and depressed becomes a routine housewives, bearing four beautiful children - caged and imprisoned within the burden of goodness and kindness shown by Dr.Andre.

What results in the end is so horrific and chilling that one goes aghast at the outcome.

It leaves the viewers devastated to say the least - viewing a claustrophobic tragedy destined to happen.

This superb movie is based on a true story.

It is a GREAT psychological drama of how slowly un-noticed the depression sets in through "subtle" everyday interaction of routine life and daily household chores. How a person feels isolated, neglected in a relationship, and above all how PATRIARCHY destroys completely a spirited young woman with dreams

The Director Joachim Lafosse has dealt with this very important subject with apt without taking sides and/ or blaming anyone, and left many questions unanswered.

Though in real life - when this incident happened - the society surely wanted a villain and thus was punished in the verdict.

The movie rests solely on the shoulders of Émilie Dequenne - who portrays Murielie so tenderly, graphically - showcasing her angst and silent sufferings with looks and stares. She literally makes an emphatical audience jump off their seat to extend a hand of help and hug her, give her support. It made me an instant life-long fan of Emilie Dequenne.

The remaining cast of Mounir and Dr.Andre too have played their part brilliantly. The director Joachim has extracted marvelous acting from little children.

At points it becomes unbearable to watch the movie and wants us to cry to intervene and turn the clock back.

But the real incident is history and can't be changed. GREAT work of cinema that I will surely remember for years

I would go with 7.75 out of 10 for this journey of joy to tragic despair.

In 'Our Children' - based on the tragic real events of Brussels mother, Geneviève Lhermitte, who, in 2007, killed her five children - writer-director Joachim Lafosse skillfully shows how a comfortable domestic environment gradually becomes a prison for a woman and subtly suggests the reasons why she might be driven to commit her hideous crime. So raw it's almost unbearable. But the movie really belongs to Emilie Dequenne. Her portrayal of a character's descent from free spirit to crushed soul is spellbinding and makes this tragedy all the more heartbreaking.

The film sets out its stall very early, so we know within the first few minutes what we are about to see, but I spent ninety minutes in denial, hoping against all expectation that something would happen to change the course of the story.

The male characters are predictable without being cartoonish, but the female parts are outstanding. The Moroccan grandmother exemplifies the way the grandfather has been able to develop a God complex, critical of North African patriarchy while practicing it himself. It is the children's mother (Emilie Dequenne), though, who gives the most extraordinary performance. She is utterly compelling and places us, however unwillingly, into the position of the oppressed and abused. I am rarely a fan of child actors but Jade and Sohane could have been in a fly-on-the-wall documentary, so natural did they appear.

The end had a sense of horrific inevitability handled with the sympathetic discretion of Elvira Madigan, with the soundtrack adding to that comparison.

Staggeringly heartfelt, disturbing and painfully real. Truly devastating.

Few artists can do what Mister Arestrup does.A character actor in the noblest sense of the word,he never gives you the impression he overplays ;yet,he can be frightening ,makes you blood run cold ,while remaining extremely restraint.In the five last years ,his two portrayals (the wine-grower in "Tu Seras Mon Fils " ,and the stepfather in "A Perdre La Raison") are among the most impressive in the contemporary French cinema.

A Young couple (she is a French Teacher,he is a Morrocan immigrant)sees their life ,slowly but inexorably ,elude them.The Young man's stepfather he calls his Godfather provides them with everything a Young couple may wish :no problem to make ends meet .But the lack of intimacy becomes hard to bear for the Young woman who would like to share a true home with her husband.But the wealthy man does not want his protégés to run away and he 's using financial blackmail as well as emotional blackmail.They are under "tutelage" :the Young man ,who seems immature sees his protector as a merciful God but his wife is not prepared to accept it.This house is not big enough for the three of us.

It's putting off the inevitable;the last scene ,showing the house of "happiness" ,filmed in fixed camera shot ,could not have been more harrowing.

A Perdre La Raison starts badly because within the first moments, Joachim Lafosse chose to reveal the final outcome: 4 little coffins, what's more white, one quickly can connect the dots which completely annihilates the element of surprise and ruins part of the interest of the movie, which anyway remains minimal.

Indeed, we're dealing with a superficial script, that raises a lot of questions but only offers a few answers which is very frustrating. One has trouble grasping the stakes and understanding the motivations because under the guise of suggesting, the movie never gets deeper on anything. The plot is very, very limited the dramatic resources are almost nonexistent and the lack of dialogues is as heavy as the atmosphere prevailing within this distinctive family, to say the least.

The character of André, quite intriguing and very well embodied by the ageless Niels Arestrup, is the only thing to remember.