Icarus Films shows good timing regarding releasing the 2014 mockudramedy "Hippocratres Diary of a French Doctor" on January 15, 2019. This roughly coinciding with medical students returning to their studies provides a good chance to ease back into the rigors of these programs by watching this generally mockumentary-style story of newbie medical intern/legacy 23 year-old Benjamin Barois. Much of the sense of authenticity relates to director Thomas Lilti having trained to be a doctor.

The following YouTube clip of the "Diary" trailer provides a good sense of the drama and the humor about this look a life in a busy Parisian hospital. 

Lilti sets the perfect tone for "Diary" right from the opening scenes. We see a solitary Benjamin dodging large laundry carts as he wanders the halls in the basement of the public hospital on his first day of work. His projecting an image of a lost sheep on his way to be slaughtered extends beyond the unruly mop of black hair that seems required of every male French medical intern.

Limited success in obtaining a lab coat introduces Benjamin to hospital bureaucracy and his status at that institution; this is despite his father being a senior doctor there.

The next rapid succession of wake-up calls begins with Benjamin learning about the number of patients in the ward to which he is assigned; his "its complicated" relationship with more experienced intern Abdel begins with that older man arguably being unduly assertive in how he steps in when Benjamin has difficulty with a medical procedure.

The first real doctor's life lesson comes on Benjamin losing a patient. The circumstances of that death lead to that kid throwing Abdel under le bus and giving viewers a few more reasons to avoid hospitals. 

Benjamin survives to fight another day until facing his next major challenge, which also involves Abdel. The general consensus that an elderly cancer patient should be allowed to continue circling the drain becomes a bone of contention when the ICU team is called in to perform arguably heroic measures; Benjamin and Abdel stepping in to pull the plug on those efforts leads to a disciplinary proceeding with negative consequences for both men. Part of this involves Benjamin showing that he does not feel like working and playing well with others. This leads to a confrontation with even more dire consequences. 

We additionally get several looks at the daily lives of the interns; this includes enthusiastic meting out of punishment for talking shop during meal times, watching reel doctors, arguing about who should work on holidays, and a New Year's dance party at which hospital staffers rock out with their docs out. A message here is that guilty feet have got no rhythm.

As mentioned above, the camera being an unobtrusive fly on the wall as all the action transpires greatly contributes to the realistic sense of "Diary." This makes this film one from which both medical students and producers of reality TV shows can learn. 

Icarus Films marks Oscar season by releasing the aptly hybrid film "Good Manners" on DVD on November 13, 2018. "Manners" is weirdly wonderful with top-notch twists. 

"Manners"  DESERVEDLY winning 24 awards and having an additional 18 nominations speaks to the quality of the film. These accolades include a "Fantastic Features" honor at the 2017 Austin Fantastic Fest and "Best Picture" at the Buenos Aires International Festival of Latin America Cinema and the 2017 Rio de Janeiro International Film Festival. 

The following YouTube clip of a trailer for "Manners" provides a glimpse of the successfully eclectic style of this future cult classic. 

"Manners" begins on a tone that reflects one aspect of the titular phrase. Clara is at the home of disgraced party-girl Ana to apply to be the nanny of the baby of this heiress when she delivers that illegitimate bundle of joy. 

This portion of the film is laden with social commentary; Ana shamelessly exploiting Clara, who must grin and bear it, and Clara becoming the caregiver of flighty Anna reflects the system in most of the "civilized" world. We also get a strong sense of the feeling of entitlement on the part of Ana.

The first twist comes via Ana and Clara crossing way over employer/employee (and racial) lines. This is not to mention another relatively unusual aspect of their relationship. Ana sleepwalking and having odd dreams is the icing on the cake in this portion of "Manners." 

Ana telling Clara the story of her not-so-immaculate conception is a highlight for two reasons; this tale is told via very stylized animation and sets the stage for the rest of the film.

All this leads to Ana giving birth to Joel, who clearly is not like other boys; a complication leads to Clara taking custody of the new-born and moving him to her apartment. The cover story that she subsequently tells him is straight out of Grimm's Fairy Tales. 

A montage covers the early years of Joel up to his seventh birthday. With the exception of literally and figuratively having a vegetarian diet, this cute and charming lad mostly is like his peers with the exception of several days a month. The days during this period are just fine, but he must spend the nights shackled in "the little bedroom" for the mutual safety of himself and the general populace. Part of the challenge for Clara is making her son understand why there are times that he cannot play reindeer games with the other kids.

Things come to a head when our excitable boy and his buddy run off to a mall for an overnight mission. This causes Clara even more angst than is typical in such situations; subsequent events show that she has good reason for concern,

This leads to a scene that is well known to horror fans; the resulting confrontation creates terrific ambiguity that ends this perfect movie on an ideal note. 

As this posts and many other reviews discuss, the magic of "Manners" relates to the perfect blending of numerous themes and tones. We get the aforementioned social commentary, the drama of a single mother contending with a special-needs child, a fairy tale, and the overall theme of society being hostile toward people who are different. As "Frankenstein" address, the monster is not always the "freak." 

The Icarus Films DVD release of the 2015 French drama "In the Shadow of Women" proves that this home-video distributor with a strong history of releasing compelling documentaries looks for "innovative and provocative" titles regarding its fictional titles as well. The strong documentary elements of "Woman" make it a particularly apt addition to the Icarus catalog.

The festival love for this future art-house classic include the Best Film honor at the 2015 Athens Panorama of European Cinema and the Best Actress win at the 2015 Seville European Film Festival.

The most overt documentary element in "Women" is central character Pierre being a documentarian whose spouse Manon fills several roles that include researcher and film editor. Additionally, filmmaker Philippe Garrel regularly provides exposition via voice-over narration. Having the camera largely follow the characters around and simply record their conversations and reactions to events further contributes to the cinema verite vibe of the film.
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The film being in black-and-white enhances the French New Wave aspects of "Women."

The following YouTube clip of a trailer for "Women" nicely highlights the artistry and overall Frenchness of the film.

The early scenes establish that Mannon working with Pierre is a holdover sacrifice from his days of struggling to establish his career. One reason that the couple still works together is that Mannon sees this as an opportunity to spend time with her husband.


The proverbial fateful encounter that jeopardizes many reel (and real) couples occurs when Pierre stops to help intern/grad. student Elisabeth carry several film canisters. This leads to an affair that soon leads to indifference and boredom by Pierre, who believes that being a man entitles him to have an affair.


The response of Manon to the changes in Pierre include her starting an affair. The response of Pierre to learning about that extra-marital activity is resentment and rage despite knowing that Manon knows of his relationship with Elisabeth.


The "B Story" in the film revolves around Pierre and Manon interviewing a man about his experiences with the WWII French resistance for a film that Pierre is making on that topic. The drama related to that extends well beyond the subject being particularly personal to Pierre.


All of this leads to a somewhat surprise ending that shows the need for reflection and the related value of deciding what you will sacrifice for something that you think will more than offset that consideration,

The Icarus Films October 23, 2018 DVD release of the 2016 French drama "A Kid" reminds us both that toxic family relationships are not limited to the United States and that the benefits of family being Hell include engrossing movies such as this one. Throwing in the titular 30 year-old man being an illegitimate child whose personality does not reflect the label attached to such individuals further enhances this film with an awesome third-act twist. 

The following YouTube clip of  a SPOILER-LADEN trailer for "Kid" outlines the premise of the film; this promo. including a reference to "hunting a corpse I do not know with two psychos" reflects the wonderful comic edge that reminds us that this is a French film.

33 year-old Parisian pet-food sales rep. Matthieu gets the shock of his life when a call at wok informs him of the identity of his father; the rest of the story is that he has a gift from his previously unidentified father Jean, who is residing in the fresh water equivalent of Davy Jones' locker. This prompts Matthieu to travel to Montreal to attend the funeral and to meet his two brothers and the other woman whom those siblings call Mom. Those three individuals having no idea of the bundle du joie that is a dividend of a business trip to France. 

Long-time Jean friend Pierre is the one who tracked down the not-so-prodigal son. He also provides Uber service from the airport and lodging during the stay. Matthieu defying a request to not upset the descendants during the weekend before the funeral transforms Pierre into his shadow.

Pierre next accompanies a determined Matthiieu on his mission to accompany his unsuspecting brother Ben the motorcycle shop owner and Sam the successful corporate attorney on a trip to the aforementioned body of water. It soon becomes known that the reasons for wanting to find the drowned body extend beyond a desire for a proper burial. 

The impact of this section of "Kid" extends beyond Sam and Ben being unaware that their guest is their baby brother. Their relative (no pun intended) status in life reflects that the oldest sibling typically gets the most attention growing up and consequently just as frequently achieves the most career success among his siblings. The "Who's Afraid of Virginia Woolf"caliber drinking, sniping, and dredging up past resentments and sins validate the theory that death brings out the worst in families. 

Things become particularly incestuous on Pierre and Matthieu returning to Montreal after an overnight corpse hunt. The latter increasingly bonds with Pierre's daughter Bettina to the extent of representing the other gender of fowl at her hen party at a rowdy bar with friends, A run-in with Sam prompts speculation regarding his past with Bettina and a prediction regarding future conflict between the newly connected brothers.

An innocent off-hand comment provides the aforementioned twist that results in the rest of the film changing course. Anyone who has ever attended a family gathering knows that these remarks inevitably occur and just as definitely ruin the already tense mood. 

This leads to the unpacking of copious emotional baggage before the family brings Matthieu to the airport for his flight home. This resolution equally satisfies the characters and the viewers. The rest of the story is that what some people do not know does not hurt them. 

Icarus Films provides young girls everywhere cause to rejoice regarding the October 2, 2018 Blu-ray release of the 2017 French musical "Jeannette." One note for parents is that the moppet in your life likely will want to repeatedly watch this song-and-dance filled feature.

The aforementioned appeal reflects the practice of producers of action-adventure fare who include brave adventurous boys in their stories. Just as many tween boys of the late '80s fantasize about being 13 year-old Wesley Crusher on "Star Trek: The Next Generation," girls from 5-to-10ish may see themselves in  pre-Joan of Arc shepherd Jeannette before she gets the flock out of the pasture and literally fights for God and country. Modern-day Jeannettes will further delight in the simplistic songs and the dancing that largely consists of the same twirling and swaying in which they engage at home and recitals. 

Our story begins (and mostly occurs) in the pasture where Jeannette spends most of her time, She laments in song and to her friend Hauviette about the invading British forces. The primary dilemma is how to quell the invasion and restore peace without almost literally fighting fire with fire (no pun intended). Attempted intervention by local nun Madame Gervaise, and the appearance of three saints seals the deal. Anyone who has tried to get a young girl to put on her shoes so that you can go do something that she dislikes can relate. 

The next portion of the film moves ahead several years and has a teen Jeannette enlisting the aide of the brother of her father to be her ally regarding Pere at least not preventing her from joining a group of soldiers. Folks with even a moderate knowledge of history knows how this works out.

As mentioned above, "Jeannette" makes a historic figure very accessible and will encourage many young viewers to read more about Joan of Arc. It provides the rest of us a broader perspective regarding this righteous warrior. It further is beautifully shot and demonstrates that the mindset of 8 year-old girls has not dramatically changed since 1425.

The Blu-ray bonuses include deleted scenes and a feature on filmmaker Bruno Dumont.

The Icarus Films October 2, 2018 DVD release of the 2014 French dark comedy "Number One Fan" PERFECTLY combines the spirit of the current Icarus focus on releasing movies by "independent producers worldwide" with the earlier Icarus raison d'etre of bringing "innovative and provocative documentaries" to North American audiences.

The only misery associated with this tale of manipulative singer Vincent Lacroix getting unsuspecting admirer beautician Muriel Bayen to do his dirty work is that it does not seem that any Hollywood producer plans an American version that ONLY would require geographical adjustments. A related note is that this story is far more apt for the title "The Beautician and the Beast" than the unwatchable 1997 comedy of that name starring Fran Drescher and Timothy Dalton.

The following YouTube clip of a trailer for "Fan" nicely introduces the two main characters and accurately conveys the tone of this MUST-SEE film.

Much of the magic of "Fan" relates to the skill of actress Sandrine Kiberlain bringing the pathetic (and not-so-bright) Bayen to life. This middle-aged woman is not a total loser but definitely has her quirks. As indicated above, she has a long-term obsession with Lacroix. She also is a compulsive liar prone to absurd tall tales. This first comes out in a fascinating scene in which she tells her teen children an increasingly bizarre story about a conversation with a man on the Metro. The unexpected turns makes on wonder if Kiberlain or Bayen have improv. training. 

The events that lead to when Vincent met Muriel begin with the former telephoning bitter half psychotic live-in girlfriend Julie. He calls her while she is in the middle of what seem to be frequent hysterics. He then goes home to poker night only to have Julie first disrupt the festivities and then storm upstairs for the next stage of her rampage.

The game then breaks up early, and Lacroix goes upstairs in time to witness one of the most hilarious accidental cinematic deaths ever. This leads to a not-so-fatal flaw in "Fan." One does not understand why he simply does not call the police to report the incident. The "CSI" series alone indicate that the forensics support the truth.

Fortunately for viewers,, Lacroix devises the not-so-devious plan around which "Fan" revolves. He fully reflects the nature of celebrity by paying Muriel a non-booty call and further thrilling her with a request for a no-questions-asked favor. His fatal flaw is not realizing that she is an emotionally unstable dimwit. A relatable aspect of this is most people in any personal or professional relationship not showing his or her crazy until after the "sane" one puts that person in position of trust. 

Writer-director Jeanne Henry adds the final element of fun in the form of nymphomaniac police detective Coline and her reluctant male partner-in-crime-solving. Their equally quirky colleagues are additional sources of amusement. 

in true Coen brothers style, the investigation commences fairly well with a not-so-distraught Lacroix coming in to report the disappearance of Julie, The subsequent discovery of the corpse alters the tone of the investigation and alerts Lacroiix to the fact both that things did not go according to plan and that he should not have sent a moron to do the job of his personal assistant/nephew. 

Insightful and amusing flashbacks show how the plan goes south as Bayen travels east. Watching how this ties into her amending her story as the police identify her as a person of increasing interest further shows that Henry has exceptional talent. 

Meanwhile, Lacroix resorts to relatively desperate measures to avoid becoming a soloist in the prison choir; this includes throwing Bayen under the bus after taking her for a ride, 

Much of genius of this is keeping the audience intrigued and entertained while maintaining an awesome balance between comedy and drama. We barely see Lacroix sweat, and Bayen puts her fertile imagination to good use in her efforts to keep herself and the French idol out of the modern version of the Bastille. 
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The conclusion of "Fan" shows both the extent to which someone can get away with covering up an accidental death and the truth of the well-known Chinese proverb regarding being careful when wishing upon a star. 

The Icarus Films September 4, 2018 DVD release of the 2017 French political drama "This Is Our Land" is a perfect way to celebrate the 40th anniversary of this company that literally prides itself on distributing movies from "independent producers worldwide." This fictional account of a visiting nurse/single mere of two being recruited to run for mayor of her native town in Northern France is an ideal blend of the "provocative" documentaries that are the focus of earlier years in the life of Icarus and the non-fiction fare that that company increasingly distributes.

"Land" follow the (reviewed ) July 2018 Icarus release of the French film "The Great Game." That one has a political veteran ensnaring an unwitting former radical into a coup attempt, 

The election of Emmanuel Macron in a campaign centered around the flood of immigrants into France provides the general context for "Land." The "liner notes" on the back cover of the DVD state that this film about the local conservative party recruiting football (my people call it soccer) mom Pauline Duhez to run for mayor is the follow-up of filmmaker Lucas Belvaux to his political thriller "Rapt" about the kidnapping of a French politician. 

"Land" exceeds the standard for a good foreign film. It not only can be made word-for-word and shot-for-shot in the U.S. and still make sense, this one is particularly relevant to our state of affairs. We have the same political divide that involves equivalently strong views about immigrants. 

We meet Pauline conducting her visits to her elderly clients; an unexpected situation at one home greatly throws off her schedule. Many American single moms can relate to the largely absent ex-husband of Pauline refusing to help with their offspring.

The day continues with Pauline dealing with difficult patients and equally challenging spouses. This typical day ends with this angel of mercy going to the home of her father to pick up her children Tom and Lili. The tension there relates to the father of Pauline refusing to eat the healthy foods that his medical problems require. 

The aforementioned aspects of the life of Pauline put her on the political radar of former fascist/long-term family friend/professional mentor Dr. Philipe Berthier (prolific French actor Andre Dussollier). A side note regarding this relationship is that the father of Pauline being a communist seems to have little impact on the relationship between his family and Berthier. 

The pitch of Berthier to Pauline includes good humor related (pun intended) to the importance of not letting the politics of the "fathers" being "sins" that tarnish the "sons." He assures her both that her lack of political experience makes her a strong candidate and that her moderate views are in line with the folks who are promoting her campaign.

Other good humor comes via the pros quickly trying to physically and otherwise mold Pauline into their image; this extends well beyond the extreme makeover. 

The other piece of the puzzle is Pauline renewing her relationship with former high school boyfriend/current soccer coach of Tom Stephane "Stanko" Stankowiak. The violent past/string political views/current militia activity making this beau an increasingly strong political liability ultimately prompt Berthier to step up his political game regarding getting this man out of the picture. This aspect of the film reinforces the concept that no politic animals have clean paws.

Things fully come to a head when all the worlds collide while Pauline is campaigning, The proportional fallout causes her to push back in a manner that jeopardizes everything. The large theme this time goes back centuries; an "innocent" is thrust from his or her world (a.k.a. comfort zone) into a brave new world that initially seems better than the one that is left behind. This ultimately leads to circumstances that typically require either fully getting with the program to returning to the old life. The associated concept that you cannot fight city hall is particularly ironic in this case, 

The conclusion is the icing on the cake; we think that it is a case of little Pauline happy at last when Belvaux throws one last curve that is not so far-fetched in concept and is very believable in execution.

Along the lines of a final twist, Americans truly will see their own political system in this film. One need only watch a scene in which an offhand remark at a neighborhood barbecue leads to tears and recriminations to see that modern politics make ex bedfellows. 

One general takeaway from the Icarus Films August 14, 2018 DVD of the 2014 docudrama "Next Time I'll Aim for the Heart" is that it shows that lesser filmmakers should be careful when telling reviewers to go ahead and try if they think that they can do better. In this case, former Cahhiers du Cinema critic Cedric Anger shows that those of us who watch and analyze more than 300 movies every year know of which we write. A side note is that Anger is a very apt surname for a film critic. 

Anger management by the writer/director of "Heart" begins with the ripped-from-the-history-books story of actual gendarme/serial killer Alain Lamere, whose killing spree keeps him busy during the winter of 1978-79. The name has been changed to Frank Neuhart in absolutely no effort to protect the not-so-innocent. 

The following YouTube clip of the "Heart" trailer perfectly conveys the drama of the film and the stone-cold nature of the killer.

The opening scenes of "Heart" establish the modus operendi of our excitable boy. Two teen girls are headed out on their Vespas for a night on the town not knowing that Neuhart is stalking them. He runs one off the road before shockingly and brutally attacking the other and then goes back for a second bite of the apple. The title of the film relates to his choice of her body part to shoot,

The next big shock occurs when Neuhart returns home, strips down, follows a bizarre rite, and then dons his gendarme uniform. Thus begins the most creepy aspect of the film in the form of watching Neuhart being a major player in the investigation of those killings and the subsequent murders. 

A personal experience with a psychotically scary creepy respondent to a roommate ad being the same guy as someone presenting himself as very normal and once even denying being the other dude shows that Lamere/Neuhart has cousins out there. But for the brains of Nelson, the psycho would have had his address and done God knows what. But for the compassion of Nelson, this guy would have ended up with a roommate who would have put him on the receiving ends of the acts in which he desired to engage with your not-so-humble reviewer. The rest of the story is that local gendarmes scared this nutcase far away from Nelson. 

An element of "Heart" that would be amusing in lesser hands but is chilling under Anger is the Superman aspect of the investigation, Neither victim, nor witnesses, nor fellow officers recognize Neuhart as the killer even when he is holding a very accurate police-artist sketch of the killer. One spoiler is that Neuhart does not bother putting on glasses in an attempt to conceal his identity.

Old-fashioned thinking even by '70s standards is almost as disturbing, Neuhart making a rookie mistake that prompts his "superiors" to suspect that one of their own is the killer illogically prompts focusing the investigation on the gay community.

The investigation taking that left turn is a meta reflection of an issue that early gay-rights organizations raise. These activists protest that films only depict homosexual men as limp-wristed sissies and/or vicious murderers. An interesting aspect of this is that Anger indicates that Neuhart is closer to the middle range of the Kinsey Scale than that not-so-macho man realizes., 

Other forms of l;aw-enforcement negligence include not seeing literally what is under their noses as Neuhart increasingly should be a prime suspect. This includes virtually catching him in the act and revealing his subterfuge. 

A more fascinating aspect is that manner in which Neuhart suppresses his dark passenger while he goes through the motions of doing his job. It shows the extent to which people with severe mental issues literally can get away with murder.

The big picture this time is that "Heart" proves both that truth often is stranger than fiction and that a good story and talented actors can draw an audience into a film without giving them copious nudity and/or bloodshed. As mentioned above, the background of Anger teaches him that less can be more. 

The Icarus Films July 24, 2018 DVD release of the 2015 political thriller "The Great Game" (a.k.a. "Le Grand Jeu"") indicates that corrupt power-brokers from every country utilize the same playbook. A similar universal truth exists regarding the bedfellows with whom our elected officials and their staff find themselves.

The following YouTube clip of a SPOILER-HEAVY trailer for "Game" achieves its goal of accurately conveying the tone and the themes of the film.
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"Game" fully gets afoot when one-book-wonder novelist Pierre Blum and self-proclaimed problem-solver Joseph Paskin meet at a casino. Pierre is attending the same wedding as his ex-wife with whom he has a much more successful divorce than marriage; Paskin is there to gamble.

The entertaining odd tone of the film begins with Paskin asking Blum whether he is an alcoholic and numerous equally personal questions within seconds of the start of their less-than-beautiful friendship. This conversation including Blum being the author of a well-received book several years earlier but not writing anything since leads to the proverbial seemingly innocent offer that turns out to be a Satanic bargain. 

The deal is that Paskin pays Blum to ghost write a subversive book that advocates civil (and less-than-civil) disobedience in exchange for a large sum of money and total anonymity. The rest of the disclosed story is that the manifesto is part of a larger plan of Paskin to turn the hearts and minds of the French people against the current Minster of the Interior for the fun and profit of Paskin. 

Paskin apparently making a great effort (and demonstrating tremendous skill) in tracking down Blum after their purportedly chance encounter is the first development that triggers the spidey sense of Blum. Learning the rest of the story provides more reason to run, not walk, away,

Like all good thrillers, the suspense escalates as the audience learns more about the horse that Paskin has in the race to pull off a coup. This coincides with being a ghost writer coming back to haunt Blum to the extent that he must hide at a farm to avoid buying one., 

Blum coming under attack from the left and the right understandably raises the stakes for him; loves past and present creating additional drama further leaves the audience guessing regarding the outcome.,

Writer-director Nicolas Pariser shows additional good basic instincts regarding an apt epilogue to this film that presents itself as a fiction or non-fiction book on its subject. A scene seconds before the end credits begin rolling provides an awesome final aha moment. 

The bigger picture thus time is the verification of the depths to which government officials sink to manipulate those whom thee individuals are elected to serve. The lesson here is that turning 30 does not preclude trusting you but getting your paycheck from a political entity does. 

The Icarus Films July 10, 2018 DVD release of the 2015 French romdram "In Harmony" once again shows how the viewing public benefits from that company filling its catalog with "films from independent producers worldwide." This tale of unmarried recently paraplegic horse trainer/equestrian Marc and married insurance company rep. Florence charged with having Marc accept a low-ball settlement shows that films about relationships in which loathe turns to love can be much more than an unwatchable chick flick.

A related big takeaway for straight dudes is that "Harmony" can score you twofer points in terms of it being a romdram and a French film. The best part is that you will like this movie that lacks any overblown angst and melodramatic declarations of love. 

The following YouTube clip of a trailer for "Harmony" achieves its purpose of accurately conveying the tones of the film.
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​Florence literally and figuratively comes on the scene in the wake of her colleague failing to get Marc to accept what he considers an inadequate amount for the harm from falling off his symbolically named horse Othello while doing a stunt for a film. Writer-director Denis Dercourt uses clever exposition by having Florence view a DVD with relevant footage of the circumstances of the accident. 

Marc giving Florence the same "and the horse you rode in on" message that he gave her colleague sends her back empty-handed to her not-so-pleased employer, The gist of the matter is that the company is facing heavy liability regarding the accident, 

Meanwhile back at the ranch, Marc is contending with the dual challenges of his personally designed rehab. and the insurance company essentially trying to starve him out. 

The impact of the events on Florence include Mark doing what he loves best and being determined to return to it reminding her of abandoning her dreams in favor of a a steady paycheck. She further is reminded of the ruthless nature of the insurance industry.

This leads to the initial betrayal of the insurance company by Florence that is typical in this type of film. This leads to the also standard true test of loyalty regarding her having to make a strong stand on one side or the other.

All this occurs in the background of our couple developing a more stable relationship and Florence helping Marc get back in the saddle. The nice thing this time is that both people are nice and lack the extreme personalities that characterize the lesser fare of this type that Hollywood produces. 

Decourt also handles the inevitable meeting between Marc and the husband of Florence well. One spoiler is that no punches are thrown. This good track record continues to the end with Dercourt providing a somewhat unexpected but happy ending for all that makes the audience want to see the Chapter Three of the leads. 

Icarus Films chooses wisely regarding selecting the 2012 Chinese film "Three Sisters" for the return to its roots of distributing "innovative and provocative" documentaries after releasing several equally stimulating fictional foreign films, such as the Unreal TV reviewed pitch black "Heathers" style "Alena." "Sisters" hits real and virtual store shelves on June 13, 2017. One of many terrific things about this movie is that it achieves the documentary ideal of equally entertaining and educating the audience.


The nine major film festival awards, including several "Best Film" wins, reflect the compelling nature of director Wang Bing turning his camera on the titular siblings and allowing the audience to watch them surprisingly happily go about their impoverished daily lives sans narration and talking heads. Additional praise comes in the form of "Sisters" being a New York Times Critics' Pick.


Ten year-old YingYing is the surrogate mother to 6 year-old Zhenzhen, and the baby in every sense 4 year-old Fenfen. The actual mother is completely out of the picture, and Dad is in the city trying to earn money. A nearby aunt provides some support.


Watching these girls living alone on an isolated farm in 19th century conditions as if doing so if normal is more fascinating than anything from Hollywood in the past several years. One scene in which uncomplaining children collect dung in baskets with their bare hands makes you want to rip the video game console out of the hands of every spoiled brat in the Western world who refuses to clean his or her room and drag that ungrateful cur out to live in the garden shed for a weekend.


The roughly 2:30 run time and the 2.5 years of filming in "Sisters" provide a great deal of ground to cover. It starts well with an opening scene that perfectly introduces the concept of the documentary in a relatable manner. YingYing is getting everyone ready in the morning; Zhenzhen is picking on Fenfen. That meanness prompts Fenfen to cry, which requires that YingYing scold one sister and comfort the other.


Another relatable segment has YingYing have a schoolyard conflict and attend a typical Chinese-style class a short while later.


One of the more amusing moments relates to a baby goat misbehaving. Other memorable ones include Dad and his father discuss the former hiring a matchmaker to find him a new wife. Dad stating that he wants any potential mate to fully know what she is getting into contributes a fun "Seven Brides for Seven Brothers" element.


A scene in which Dad and the younger children board a bus provides a good sense of the bureaucracy of China; suffice it to say that this event fully illustrates the regimented style of life in that country.


Politics only directly comes into play once. The agenda of a meeting that Dad attends includes discussing the expansion of electric service. The gist is that the government is pursuing what seems to be a standard policy of benefiting the haves at the literal and figurative expenses of the have-nots.


The special feature includes a comprehensive 16-page booklet on both "Sisters" and Bing. The insights in an essay provides a strong "You Are There" sense.

The May 9. 2017 DVD release of the 2015 Swedish drama "Alena" is the latest example of the glory that is the Icarus Films expansion beyond distributing "innovative and provocative documentary films." This live-action tale, which is based on a graphic novel by Kim W. Anderson, of the new girl in school having major adjustment issues is an awesome combination of the 1988 mother of all "Mean Girls" films "Heathers" and the '80s sitcom "The Facts of Life."  A vicious croquet game is the most direct homage to "Heathers" and "Alena" blonde queen bee Filippa starting a spiteful rumor that a classmate is a lesbian is straight (no pun intended) out of "Facts."


The following YouTube clip of an "Alena" trailer achieves its goal of conveying the style and the intensity of this well-made film.

"Alena" commences with the titular version of Bronx scholarship girl Jo of "Facts" enrolling in the Eastland Schoolesque prestigious girls' academy in the wake of an unspecified event that prevents her from remaining at her public school. This transition comes courtesy of a highly sympathetic school counselor whom Alena considers a savior but is a "pregnant cow" in the eyes of Filippa.


The mere presence of Alena at the school is enough to trigger the ire of Filippa; expressing interest in joining the lacrosse team that "Blair" rules with an iron fist earns the new girl a lacrosse ball in the back. This leads to more intense torment with a perverse sexual element.


"Heathers" style eye-for-an-eye retribution comes via public school bestie Josefin, whose tactics also VERY APTLY earn her the title of being the worst enemy of Alena. More positive support comes in the form of an increasingly close friendship with new classmate Fabienne.


Filippa becoming the Wile E. Coyote of our high school drama only drives her closer to the edge of insanity to the degree that her sense that times are desperate provoke desperate measures. This only further enrages Josefin and has a proportional impact on Alena.


Concurrent related drama comes in the form of reveals regarding both the reason for Alena leaving her high school and the role of Josefin regarding that development. This adds the element of all good films that there is my story, your story, and the truth.


All of this comes to a head on the night of big party in a manner that throws an element of "Carrie" in the mix. Suffice it to say that Filippa might as well have dumped a bucket of pig blood on the head of Alena. 


"Alena" gets As regarding the test for foreign films; it has relatable universal themes and could have been shot word-for-word and scene-for-scene in the United States. It additionally realizes that not every movie must have a Hollywood ending