"La beauté du monde" would deal with the return of a soldier from Mali and his difficulties to adjust to civilian life." "le soleil reviendra " deals with the ordeals of a pregnant woman waiting for her love fighting in Afghanistan .
She meets other soldiers' wives (or widows)and there's a strong camaraderie and solidarity between them ;one of them lost her husband four years ago but she remained true to him (a moving visit to the cemetery) ; but the most harrowing scene shows a woman gone crazy ,after the loss of her husband a long long time ago ;in the restaurant where the heroine works as a waitress ,she comes every day for a tête-à tête meal with him,acting as if he were still alive : feeling compassion for this woman who could never come to terms with her tragedy , she plays along with her and serves the imaginary guest ,asking him if it's all right and if he enjoys his meal.
The movie esssentially depicts the everyday life of a woman,whose pregnancy adds to her anguish ; once again ,there are very long conversations which may be sometimes tedious ;but the director smartly introduces a male character , whose wife is a soldier ,and who's become a house husband ,a thing which would have been unthinkable before the Gulf War where this situation was not rare. Carron is a feminist.
One may attack Carron for her praise of military sacred noble values ;but she's not one -sided ;one of her friends tells her about a colonel who left his own daughter and pretended he did not see her when he met her once in the metro.
In its last part , if the movie does not fall into the trap of tear-jerker melodrama, it is entirely due to Carron's natural feeling for economy and sparseness which avoids all forms of conventional sentimentality and self-pity .
Even though religion is totally absent (the heroine never resorts to prayer) ,the prologue shows a mother urging her soldier son to keep a Virgin Mary medal on him ; and the ending is nothing but some kind of miracle (which will remind the viewer of the moving arm in the sprawling "le fils d'un roi").
She meets other soldiers' wives (or widows)and there's a strong camaraderie and solidarity between them ;one of them lost her husband four years ago but she remained true to him (a moving visit to the cemetery) ; but the most harrowing scene shows a woman gone crazy ,after the loss of her husband a long long time ago ;in the restaurant where the heroine works as a waitress ,she comes every day for a tête-à tête meal with him,acting as if he were still alive : feeling compassion for this woman who could never come to terms with her tragedy , she plays along with her and serves the imaginary guest ,asking him if it's all right and if he enjoys his meal.
The movie esssentially depicts the everyday life of a woman,whose pregnancy adds to her anguish ; once again ,there are very long conversations which may be sometimes tedious ;but the director smartly introduces a male character , whose wife is a soldier ,and who's become a house husband ,a thing which would have been unthinkable before the Gulf War where this situation was not rare. Carron is a feminist.
One may attack Carron for her praise of military sacred noble values ;but she's not one -sided ;one of her friends tells her about a colonel who left his own daughter and pretended he did not see her when he met her once in the metro.
In its last part , if the movie does not fall into the trap of tear-jerker melodrama, it is entirely due to Carron's natural feeling for economy and sparseness which avoids all forms of conventional sentimentality and self-pity .
Even though religion is totally absent (the heroine never resorts to prayer) ,the prologue shows a mother urging her soldier son to keep a Virgin Mary medal on him ; and the ending is nothing but some kind of miracle (which will remind the viewer of the moving arm in the sprawling "le fils d'un roi").
