inshalla Quite rarely I come across modern films, and even with “non-new” themes, so that they leave impressions about themselves, seasoned with sincere emotions.
We will talk about the winner of the Berlinale 2013, with the award from FIPRESCI in the “panorama” and from the ecumenical jury in the same program: “With God’s help” / “Inch’Allah” (to adapt this title is more than incorrect, because it is a stable expression in all languages + the final phrase-conclusion in the film).
The Canadian-French film tells the story of a doctor who daily crosses the border of warring countries, having no cultural and racial preferences before fulfilling her duty, wanting to help people not only from the profession, but also from the moral and spiritual point of view, then supporting a dead child, then trying to smuggle friends to their homeland.
In general stylistics (including acting and framing), the film resembles the sensational 11-12-gg "Divorce of Nader and Simin", which was a Europeanized version of the Iranian new wave, plus an independent French "Polyss" about the same years, with a certain shade of art.
The figurative secondaryness, apparent meaninglessness and slowness of the plot forms, against the general background, an analogy with the military situation and the conflict as a whole, already by the middle of the picture building an invisible, sometimes predictably artificial, emotional connection and attention-grabbing interest. The irrepressible enmity of countries resonates in blind, unjustified female revenge against each other, universal anger and inhuman stubbornness. Compassion, gratitude and compassion are easily blocked by a fence, behind which only negatively colored reflection, "by the will of Allah."
As a result, it turned out quite good, but relatively disposable tape, in the spirit of modernity, with a good emotional cut, diligently tuning the viewer to catharsis, which is quite achieved with "off-the-scenes" concentration. Inshalla.