It took me a day or so of reflection to reach that conclusion. You see, Sarah aches, envies and dreams, but when she is knocked down, she picks up what self-esteem she can gather and gets up again. She desperately wants to be loved by a boyfriend and a parent. Adelard is thoughtful, accepting and wise, but most of all loving--not just of people, though certainly that, but of the vital things of his life: peace, understanding, personal growth, and the natural progress of life's events.
The Cree dialogue scene is rich with communication. The primary conversant, a politician wannabe, displays through his gestures and intonation that he is sincere, and believes in himself and his integrity. That, along with the sporadic inclusion of English nouns and adjectives (Cranglais?), leaves little uncomprehendingand keeps the audience rapt and grinning throughout. I was impressed.
If a story has to go somewhereif you need to be taken from point A to point Bthen you won't appreciate this one. This is not an action film, it's a "setting" film, and parallel to the concept of Oral Tradition, it's all about the dialogue. That's what gives this film a depth well beyond "A Day In The Life of
" or "A Cultural Snapshot". The generous use of silence, without becoming Pinter-esquire, speaks volumes.
If you can't get to a screening of this film, find it on videoit'll be good there too.
