A Thousand Times Good Night (2014)

First, this is a very fine movie and I do recommend watching it. Beautiful cinematography, terrific and thoroughly believable script, a moving screenplay and excellent acting throughout by all involved.BUT, I found myself feeling such rage at the main character, Rebecca, that it is almost enough to make this viewing of the movie my last despite its many otherwise admirable qualities.What I'm referring to here is Rebecca's complicity, I would say participation, some would say acquiescence, in the atrocity committed by the suicide bomber(s). For a photo journalist to stand by and do nothing to assist those injured or killed in a suicide bombing after the event might possibly be understandable if not acceptable. But for a photo journalist to do more than witness and, I would argue, to become involved in the actions of a group of bloody terrorists is something else again. In my opinion, such acquiescence on the part of the photographer condones the act of suicide bombing, the act of killing innocents in the name of any bloody religion.Imagine the outrage had a photo journalist been a party to the bombing in Omagh all those years ago by attending to take photographs of the preparations for the bombing. Such complicity could and should be regarded as participation in the act and should carry whatever penalty that the law provides. This is essentially what Rebecca did in this movie and I was repulsed by her actions and her being involved in a deed as foul as suicide bombing rather than simply being on the spot in the aftermath of such a bombing. Yes, of course this is a moral judgement but it is nonetheless a valid one.As I said at the beginning, it is a very fine movie and it is very thought provoking. If, like me, you think you might be repulsed by the main character's actions and her participation in a deadly act or terror, then perhaps this is a good movie to avoid.

War photographer Rebecca (Juliette Binoche) is one of the best at her job, obtaining the kind of pictures that invariably get published in western magazines as examples of the violence of conflicts in nonwestern areas such as Afghanistan or Kenya. The only snag is that Rebecca is so obsessed with her work that she cannot understand the damage she is doing to her family back in Ireland, especially her daughter Steph (Lauryn Canny).The conflict between personal and professional values forms the kernel of Erik Poppe's film. Yet thematically speaking the director is far more interested in prompting reflection on the photographer's trade. While Rebecca certainly shows a good deal of bravery in trying to get the best pictures, we also understand that she is something of a voyeur who actively enjoys intruding into her subjects' personal space. Her fondness for the close-up of suffering people is quite disconcerting, especially in a sequence taking place in the back of an SUV in Afghanistan. In political terms, she adopts a neocolonialist position of the westerner taking scopophilic pleasure in the power she exerts through her camera.Perhaps the film's most telling moment occurs back in Ireland, when Steph turns the camera on Rebecca and photographs her repeatedly. Rebecca cannot endure the experience of the lens pointing at her in such an intense manner and turns her head away, her eyes filling with tears. Would that Rebecca might understand that her subjects could feel much the same; but if she did so, then she would not be good at her job.Given the integrity with which Poppe examines this issue, it's rather sad that the film as a whole should be somewhat melodramatic. In the end the action descends into something of a tug-of-love battle between mother and family; at one point Rebecca bundles Steph and her younger sister Lisa (Adrianna Cramer Curtis) in a pathetic attempt to abduct them from their family home. Needless to say husband Marcus (Nikolaj Coaster-Waldau) foils the plot and eventually looks after the girls himself.The film makes a half-hearted attempt to draw a parallel between Rebecca's wanderlust and the rhythms of the tide (her daughter observes that the photographer is like the sea, coming and going), but unfortunately outstays its welcome: the last half-hour unfolds slowly but predictably towards an inevitable denouement. This is a shame, given the seriousness of its basic premise - almost as if director Poppe had lost the courage of his convictions.

This is a truly European production with a genuinely global agenda. A Norway-Sweden- Ireland co-production, it was shot in Ireland, Afghanistan, Kenya and Morocco and both the director Erik Poppe and writer Harald Rosenløw Eeg are Norwegian (the story is inspired by Poppe's personal experiences as a war photographer). War photographer Rebecca (the French Juliette Binoche) is married to marine biologist Marcus (the Danish Nikolaj Coaster-Waldau) and they live in Ireland with their two daughters, but Rebecca is constantly drawn to conflict zones where she take incredible risks to obtain dramatic photographs. The film explores what such a situation does to the family left at home and what drives someone to risk all that is dear to them. The largely wordless opening sequence presages a slow work, but a compelling one, and as always Binoche gives a mesmerising performance.

I can not stress how much I love this film. There are so many beautiful moments, and so many beautiful shots. This film really went straight into my heart, and I felt every moment of it. Artistically it's shot very well, and I got nothing negative to say about the mise-en-scene. I believe it's a very important story to tell, and when I found out it was based on the directors life, I was even more impressed. Lauryn Canny was only 14 years old when the film were shot, and to get such a great performance from someone that young is admirable. It will go under my all time favourite films. Nicolaj is a great actor and it's nice to see him in a role like this, and as usual, Juliette's performance is strong, and you believe every tear that falls from her eyes. She is such a talented actress, and she was perfect for the role!