This is a biopic about the marine explorer and film maker Jacques Cousteau, starting in the post second world war period, when he is living an idyllic life with his wife Simone and two young sons in a Mediterranean villa bought on the proceeds of his development of the aqua lung.
C (Affleck) and M (Mara) live together in a small suburban bungalow in Texas. After C dies in a car crash outside their home, he comes back to the bungalow as a ghost, a silent witness to M’s grieving process. When she moves out, the ghost finds itself anchored to the home, its disintegrating memories and experiences with the new tenants slowly giving way to something more cosmic.
The Midwife provides a platform for two terrific French actors. Catherine Frot plays Claire, a hard-working, very capable senior midwife in a maternity clinic in Paris. In the midst of her concens over the take-over of the clinic by a private facility, she is surprised by the re-appearance of her father’s former mistress, the elderly Beatrice (played by Catherine Deneuve).
The film is based on true life story of Nova Scotian artist Maud Lewis, who was born with physical deformities in her fingers and spine and suffered from crippling arthritis. Born in 1903, she married Everett Lewis, a fish peddler when she was 34 and lived with him in poverty in his tiny one room up one down cottage with no electricity and running water, until her death aged 67 in 1970.
Outrageous glow-in-the-dark American mythology weirdness, with engaging turns by all three leads and supporting names too.
Director Sofia Coppola has given us a movie that is lovely to look at and acted with finesse by a top raft of actors. The script, by Coppola, is intelligent and even the length of the film is just right.