This year is the year 2014 in the comic drama Alice Dydward, “Love Letters”, the French couple Nadia (Monia Chukri) and Celine (Eli Rumv) expect their first child. Nadia is 37 years old, so the duo together decided that the parents were pregnant, as biology, at the age of 32, is somewhat more alongside Celine, and there may be a future brother. They may make another trip to the Danish sperm bank. Celine may carry this unknown theoretical child.
Perhaps, perhaps. However, this film is firmly rooted in these characters here and now from these characters, which is the current moment to carry Nadia and the pressures that were placed on the spouses, which are explored by sensitivity in a warm and human framework. It is clear that Dyad is a writer and director who loves her characters and does not enjoy torture in particular; She also went through what they were going through, after they completed the legal adoption of her wife in 2018.
ROMPF and Chokri explain the sympathy for the characters they play as well, as they live in sincerity and understanding of their settlements. Many couple issues will be familiar to pregnant couples in general, regardless of the two sexes concerned. What is the role of a father who is not a parent during pregnancy? There are a few who have not argued that the pregnant party is the main event, the personality of the stars, but exactly what is this supportive act? How can one play this role?
Céline wrestles with this challenge, and “Love Letters” is a movie that focuses on that experience. While accepting its secondary position, this does not make it less than a 3D person who has a huge experience to change life. Rumpf plays all this with enormous sympathy and care. You can see her wrestling inward with her anxiety and doubt, and how she tries to suppress all this for her partner. It is a performance that reminds you of how great is the ROMPF actor.
Part of the difficult emotional terrain that its personality must negotiate is the result of the legal status in France in 2014. Marriage has been legalized and adopted for gay couples, but for Céline and Nadia, this means that Céline is officially adopting their child after birth – a complex process. On the one hand, it is necessarily complicated, because adoption is a dangerous procedure with the welfare effects of lifelong. On the other hand, the situation is largely unfair, because the straight couples are not placed in the same position – even if the potential male guardian is not the biological father. Any useless, toxic, or inappropriate man can become a legal father of the child, without being subject to the comprehensive verification that these women should face.
In contrast, Céline and Nadia ask multiple questions about everything from their health to their social lives to the dynamics of their family. This last part is especially hot for Céline, because her relationship with her mother (which is an excellent noémie lvovsky) is a difficult relationship. The petition from her parents is a written statement of support (“Proof of Love” that he referred to in the title of the French movie, “Des Preuves d’amour”), which is required for adoption, may be the most difficult obstacle in a journey that must be happy, and instead with the presence of many precise conflicts and unreasonable shock.
It is located next to some of the largest films at the Cannes Festival, dealing with overwhelming international crises or making large artistic data, “Love Letters” is a modest and uninterrupted drama. But it is achieved beautifully and widely linked, with a narrow and human focus on the hopes of individuals, dreams and regular fears, against the background of a certain moment in French social progress.