Who decides what is better for a child? In the movie “Adams”, a 4 -year -old boy is accepted in the pediatric pavilion with a broken arm, and doctors attribute her to malnutrition. She is called a social worker, and Adam’s mother – who is hardly more than a child herself – prevents her son while hospital staff is trying to return to health. But Adam refuses to eat unless his mother is present, as she fights against the nutritional pipes that doctors requested.
All my background that we collect on the jogging during the opening minutes of the Belgian director Laura Wandel, the vibrant emotional storm, which is strengthened by a pair of wonderful performance from Lea Duker as a diamond, for the numbers of the children’s class, and the “star” that occurs. The young actor who plays Adam.
From the beginning, we see Lucy trying to mediate between the patience (Laurent Capeluto), a non -flexible social worker (Claire Bodceon) and the desperate repetika, which was granted a narrow window of the visit on the basis of the test. The boy in turn links his mother’s neck, and asks for anyone who will listen if he may be allowed to stay at night.
The risks are life and death, as the medical staff explains. Meanwhile, Rebecca is working in the crosses, where she escapes in plastic containers from Jobs similar to the garden of Ceylon, insisting on feeding Adam instead of hospital food. Without the right power, the boy risks additional fractures, which makes it particularly difficult to see the scene in which Rebecca is put up the described meal while operating Lucy’s back.
For a narrow, intensive minute, Wandel sinks the fans in a feverish bustle of this hospital that was crossed, noting through fresh eyes a world we know from many TV TV works-as much as the hard grass in the primary school yard did in its amazing appearance of 2021, “Playgroung.” In this film, Wandel has developed a well -suited official approach to its environment, with the perspective of its 7 -year -old champion as the first class student to try to understand its new surroundings. Upon seeing it, the adults were either the conflict at the waist (à la teacher in the cartoons “peanuts”) or obligated to bend to a frame, and to participate with the girl at the eye level.
Wandel could have repeated the same tactic in “Adams for”, but instead of photographing the work from the point of view of the poor child, it corresponds to Lucy, using a dynamic monitoring method similar to that of Luke Darden. The movement is consistently covered via a small portable camera, a photographer Frédéric Noirhomme Shadows Lucy and other characters via Long Unbroken takes, sometimes staring at the back of the novel’s header (as Dardnne did in “Rosetta”).
It is a bold strategy, which does not aim to persuade a lot of indulgence, which distinguishes “Adam” from countless measures in hospitals. Wandel wants her audience to weigh the philosophical aspects of the situation, and revealed the power struggles behind the scenes and the second division decisions that complicate Lucy and her presidents to spare Adam.
The masses-especially those who have children of their own-may face a difficult time in dealing with the behavior of Rebecca that defeats himself, which stems from a place of panic. Adam’s father abandoned, raising the boy to this extent on their own, but her instincts are suspended. It is not clear whether what you feed is vegetarian or some kind of alternative that is being punished religiously, although Wandel explicitly said that this is beside this point. Its focus is on the various hierarchical serials that play in this hospital, where parents usually have power – which this mother lost in one way or another in the legal system.
Rebecca has cultivated a dynamic accredited with Adam, where neither of them could be far from the other; She goes further to lock herself in the bathroom in the hospital with her son for one moment, then kidnap him all the next day. Practically no wonder that everyone on employees is determined to curb Rebecca and limit access to her son. It seems that Lucy only realizes that they need the mother’s cooperation in order for Adam to bend the rules heroic in his interest.
Lucy may have the best interests in Adam, but she finds herself at the bottom of a series of driving, where Dr. Adam, the supervisor of the wing (Alex Diskas) stands, and ultimately on her way. The film can feel a little bit of melodrami sometimes, especially when Adam finally talks about his reality – a shrimp line, it is difficult to believe that any child is already saying, which will not forget anyone soon. In the end, “Adam’s’ S -SAKE” is not just effective like “Stadium”, but it definitely confirms Wandel as a film maker who calculates his account.