By 
By Roger Costa
THE SOWER
The Republican uprising in 1851 caused the incarceration of all men ruled by Napoleon, leaving the women alone to learn on their own how to survive. Writer-Director Marine Francen’s courageous debut revolves around this historical fact to comment on the female power of adapting and their determination to overcome suffering or any life-threatening circumstance. Here, the women are fighting for their right to be a “woman”, to be taken care of, to be loved, to become a mother and fulfill all of womanhood’s requirements. As they maintain a grief mood around the small village, working the land, they deeply yearn for their mates, as loneliness and desperation gradually consume what’s left of hope. But their strength, mutual respect and communion keep them moving. They also believe on their obligation to give the youngest an example of endurance. Violette is the most notable case, the last purely untouched young woman in the village; She is in conflict with herself and her silent emotions, as she’s transitioning into maturity, caught up by the abrupt and traumatic connection between war reality and her coming-of-age transfer. Those characteristics about Violette are expressed through the various investigations she stirs up among her colleagues, on sex, behavior, and consequences. Though submissive as every woman in that era, Violette is clearly ahead-of-her-time and anxiously prepared to explore the new phase, suggesting an audacious resolution: what if there was one single last man who could provide fertility to all of the women, assuring the villagers lives to keep on reproducing?
Their imagination arises, as Violette continues to learn the mysteries of sex and passion, gradually taken by her own innocence; She and the others, maintain a thrilling activity of fantasizing this “last man” and the things they could share together. Time goes by, war persists and the women keep on waiting, when suddenly a stranger arrives at their harvesting.
Running away from a war crime, and bringing news on the prisoners, (some were deported, many were killed) Jean seems to be a light at the end of the tunnel, everything they have been expecting for. They promptly shelter and hide him, providing a symbolic representation for healing his inner wounds. Jean and Violette develop a strong connection and instant affair, but she is aware he will be a shared husband in the village, as the others expect to impregnate. For a young woman who just surrendered herself to a man for the first time, letting him go and avoiding deeper feelings will be a tough task. The inevitable jealousy, hopelessness and reckless decisions round her behavior, but her integrity and community bond, as well as loyalty to the sisterhood could beat stronger than her first-love experience.
Gorgeously shot with images resembling a lyrical painting, filled with impressive, powerful performances, director Francen fearlessly conducts the material, blending unconventional elements to the sensibility of the plot. Originally focused on the women’s fragility and sense of loss, Francen subtly seduces the audience with a sumptuously erotic aesthetic, composing extremely hot scenes without undressing the performers. Winner of the New Directors Award at San Sebastián International Film Festival, it’s a daring and enthralled romantic tale about amended hearts. (Film Movement. 3/22. San Francisco and San Rafael, CA.)
MAPPLETHORPE
Prolific award-winning director Ondi Timoner scoops out the rising and fall of one of the most controversial artists in the 20th Century, the photographer Robert Mapplethorpe. An influential and popular figure in the 70’s, he was called the “shy pornographer” after finding his visionary gifts to document the underground gay culture in NYC. In one of his attempts to become known for his explicit artistic expressions, he meets up a free-spirit woman with whom he develops an intense relationship. But his homosexual tendencies rule over him, and he delves into the gay world only to become the strongest voice among them. Instinctive, completely impatient, confident, outrageously open and persistent, he finds his way in the industry, rising to the top, while keeping on his promiscuous, orgy-infested life-style. Only his conservative family are spared from his transitions, as he tries to hide his most effective works. The film brilliantly shines a light on the topic of being accepted and rejection, the closed curtains one must face when exposing personal ideas and practices, and the societal obstacles meant to break through revolutionary art. Internationally known for his role on the series “The Crown”, which he scored both Emmy and Screen Actors Guild nominations, Matt Smith gives a powerhouse performance in the title role, a definitive revelation of his dramatic skills. Perfectly embodying the artist, Smith builds his character with layers of madness, eagerness, loneliness and enthusiasm, as he deals with trauma and unsolved conflicts. He is also impressive on the development and transition on his character’s sexuality, convincingly absorbing the passionate compulsions for men and art. That said, he delivers a remarkable performance, deservedly entering the list of this year’s best players with this extravagant and truthful look at the city’s bohemia, solitude, and the struggle for artistic freedom. (Samuel Goldwyn Films. 3/22. San Diego CA, Atlanta GA, Pelham NY.)
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