Yolande Moreau, magnificent in the role of a lifetime, and Laurent Brunet's stunning photography provide - along with the artworks of Seraphine herself - reasons enough to see this film. Overall, the simple-story-simply-told feel of the movie started to loosen its grip on me at the start of its second hour. I think this may have been because the screenplay spends so much time on Uhde's rediscovery of Seraphine at that point, after the disruption of WW1. I mean no disrespect to Ulrich Tukur, who is terrific as Uhde, but I don't think it was the best use of screen time. Did we really need to dwell on someone arriving in Chantilly by car, having Uhde pick that person up in his own car, have the person - who turns out to be a journalist - interview Uhde at some length? It was interesting without being necessary, and contributed to a real dip in the movie's energy.
Once Ms Moreau reappeared the film was on course again. Maybe, then, we did have to leave her in order to return to her, but in my view the time away was not handled well. Hence 6 out of 10 for a work that, on the basis of its central performance and its cinematography, and indeed on the merits of its remarkable first hour, might have reached even greater heights.
Once Ms Moreau reappeared the film was on course again. Maybe, then, we did have to leave her in order to return to her, but in my view the time away was not handled well. Hence 6 out of 10 for a work that, on the basis of its central performance and its cinematography, and indeed on the merits of its remarkable first hour, might have reached even greater heights.