Delta

A film by Kornél Mundruczó

After making his fortune in the city, Mihail, a quiet and gentle young man returns after an absence of many years to his isolated Romanian village in the Danube delta. It is a labyrinth of waterways, small islands and over-grown vegetation, where the villagers are cut off from the outside world. He is greeted by a stepfather he has never met before, as well as his mother and adult sister, Fauna. Treated with suspicion by his stepfather and considered by the community to be an outsider who does not belong, his presence is unwelcome in the village. However, for Mihail this is not an issue since he has plans to create a new life alone in the marshes independent of them all. But despite his intentions, Mihail's return will in time fracture the family.

Fauna, a frail, slight and timid young woman decides to abandon her life with her mother and stepfather who run the village bar, to join Mihail in the middle of the marsh. She follows him to their deceased father's abandoned property to help him in the construction of a house on stilts with a long pier over the water. As their lives become increasingly close and intimate, they begin to experience a more deep-seated and harmonious relationship with the natural world around them and a tender love and affection for each other. But their relationship also elicits the disapproval of their family and eventually of the community too, leading to tragic consequences and to a heartbreaking conclusion.

This sensitive, insightful and intensely beautiful film looks at human nature and the dilemma of following one's heart or obeying social conventions. With its outstanding cinematography, it reflects also on man's need to re-bond with his natural habitat. Exploring the phenomenon of genetic sexual attraction, whereby siblings who live apart until they meet in adulthood can feel an overwhelming sexual attraction for one another, the story meditates on the consequences of a fraternal love that drifts into seemingly unacceptable territory.

The White Ribbon

Das weiße Band
a film by Michael Haneke

On the eve of World War I, the quiet order of a small protestant village in northern Germany is disturbed by a series of mysterious and inexplicable incidents. To the mounting concern of the villagers, the events persist, becoming increasingly sinister and assuming the characteristics of a perverse punishment ritual. But who is responsible? The story follows the children and teenagers of a choir run by the village schoolteacher, and their families – the baron, the steward, the pastor, the doctor, the midwife, and the tenant farmers of the estate.

The doctor is severely injured when his horse is brought down by a wire placed at knee height. A farmer's wife dies after falling through rotten floorboards. A window is opened to expose a newborn baby to the intense cold of the winter. A field of cabbages on the baron's land are destroyed with a scythe. One of the baron's sons disappears and is later found with his feet and hands bound, having been lashed with a whip. A barn belonging to the manor is set on fire. A farmer hangs himself. A midwife's handicapped child is found tied to a tree in a forest, seriously beaten, with a threatening message on his chest speaking of divine punishment.

Since the beginning of these events, the strict and severe pastor had tied a white ribbon to the arm of his two eldest children, his daughter Klara and son Martin, to remind them of their duty to purity. As the violent and disturbing events begin to escalate, the schoolteacher observes, investigates and little by little discovers the incredible truth.

This brilliant, chilling masterpiece penetrates the surface of an outwardly peaceful and puritanical society to reveal the malevolence and violence beneath – and the terrible consequences they threaten to unleash. Exploring themes of guilt, denial and violence, this haunting and provocative feature was awarded the Palme d'Or at Festival de Cannes 2009.

Innocence

A film by Lucile Hadžihalilović

At the heart of a densely wooded forest lies a mysterious girls' boarding school. A subterranean rumbling resonates in the heart of the forest. Hidden by foliage, a metal grate reveals underground passageways, which lead to the cellars of five houses scattered throughout a great park. The park is cut off from the outside world by a huge wall with no door. Within one of the houses, a group of youngsters aged between seven and twelve gather round a small coffin, from which emerges a new pupil, six-year-old Iris. Led by the eldest girl, Bianca, Iris is introduced to this strange yet enchanting world of lamp-lit forest paths and eerie underground passageways, where there are no adults save for several elderly servants and two melancholy young teachers, Mlle Edith and Mlle Eva. But this haven is one from which the girls are forbidden to leave, and those that do are never heard from again.

A dark, yet beautiful fable that contrasts the atmosphere of dread and uncertainty with the light of youthful purity. Captivating in its mystery, the further the story progresses without giving any answers, the more the anxiety builds. It is set in a timeless present evocative of the 1960s, and is not, strictly speaking, a fantasy film, but simply a child's eye vision of real life, experienced through its three main characters – Iris, the youngest girl, who arrives at the school; Alice, who has already spent several years there and rebels; and Bianca, who is at the end of the school cycle and represents a young girl shaped by it.

This strikingly unique debut feature explores themes of metamorphosis, maturity, understanding, friendship and loss, as the young girls prepare for their ascent into womanhood. Haunting and bizarre, filmmaker Lucile Hadžihalilović imbues Innocence with a fairytale-like sense of menace and images of surreal beauty, creating a mesmerising and timeless evocation of childhood.

Summer Hours

L'heure d'été
a film by Olivier Assayas

The divergent paths of three adult siblings collide when their mother, heiress to her uncle's exceptional 19th century art collection, dies suddenly. Left to come to terms with themselves and their differences, Adrienne a successful New York designer, Frédéric an economist and university professor in Paris, and Jérémie a dynamic businessman in China, confront the end of childhood, their shared memories, background and unique visions of the future.

Hélène Berthier, the niece of a famous painter, has devoted her life to the preservation of her uncle's legacy. Her house contains a vast collection of his paintings and sketches, antique furniture and fine art objects including several works by Carot. Hélène's family have gathered to celebrate her seventy-fifth birthday and she has decided it is now time to discuss their inheritance after she dies. Whilst Frédéric, her eldest, expects that the family will want to preserve the house and its collection intact, Hélène is under no such illusion. For her it symbolises the most important things in her life – the love she has for her deceased uncle, her memories, her secrets – and she knows that when she dies this very personal significance cannot be preserved.

After Hélène's death her three children return again to the house and following the funeral have to confront the issue of her estate. The sentimental Frédéric, the only sibling still living in France, proposes that he, with his wife Lisa, oversees the preservation of the treasured family heirlooms. Jérémie however explains that his business and family commitments are likely to keep him and his wife Angela in Asia for the foreseeable future. Whilst they would derive no benefit from keeping the house, his own financial share of the inheritance has now become vital to his future. The equally pragmatic Adrienne then announces that she and her partner James are about to marry and that with her life centred entirely in the United States, she too feels no desire to retain the family home in France.

Adrienne no longer thinks in terms of geographical borders and her brother Jérémie is now a part of the modern global economy, the very economy that Frédéric opposes and does not believe in. Frédéric's wish to protect the family's possessions is based entirely upon their symbolic and sentimental value to him, whereas for Adrienne and Jérémie the objects of the past, however beautiful, can hold no personal significance. Clearly shocked and disappointed, Frédéric has to come to terms with this inevitability, completely unforeseen by him despite Hélène's anticipation of, and preparations for, the disposition of her assets. Torn between issues of heritage and modernity, Hélène's children must now question the value of preserving their cultural roots in a world of globalisation, and abandon the remaining material links between each other and their childhood.

An insightful, heartfelt and thought-provoking drama examining the themes of generational change and cultural identity. The film is beautifully photographed and features some extraordinary works of art from the collections of Musée de Louvre and Musée d'Orsay.

A Winter's Tale

Conte d'hiver
a film by Éric Rohmer

On holiday in Bretagne, Parisian hairdresser Félicie has an idyllic romance which results in the birth of her daughter, Elise. Through a mix-up over her address just as he is leaving for the United States, she loses touch with Elise's father, Charles, and becomes obsessed with the lost love of her life. Finding it impossible to settle with another man, she holds onto the dream that Charles may one day return. Five years later we find Félicie attracted to, but not in love with, two different men each of whom she leaves for the other. She divides her time between the handsome and devoted Loïc, and the adoring and dependable Maxence. Offering her different things, she is unable to choose between them, aware that she is still in love with the father of her child.

Maxence, her boss, is moving from Paris to Nevers and wants Félicie to come with him. She loves being with him but is not madly in love with him. After first saying no, she then agrees and leaves Loïc. Once there however, Félicie has another change of heart following an epiphany about her love for Charles during a visit to a cathedral. She returns to her mother in Paris and goes to see Loïc again.

Loïc is a librarian and intellectual who loves to engage her in deeply spiritual conversation about religion, reincarnation and the nature of the soul. Whilst he is very Catholic in his belief and outlook, Félicie is far more of a free spirit. After her return to Paris, during a visit to the theatre with Loïc to see Shakespeare's The Winter's Tale, she realises that she too must "awake her faith" and she experiences the purity of her lost love in contrast to the seemingly mundane choices she has been facing in her daily life. By opening herself to the possibility, the improbable might just happen, but in the most unexpected way.

A treatise on the nature of faith, intuition and love that never dies, this the second of Éric Rohmer's Tales of the Four Seasons, is a charming and superbly acted love story with the compelling quality of a fairytale.