April 13, 2024

Gilles Paquet-Brenner has put together quite an engaging cast to tell this story of a woman with an hitherto unknown family history. "Julia" (Dame Kristen Scott Thomas) is a journalist with a French magazine who is assigned to write a story of the infamous rounding-up and deportation of the Jewish population of Paris in 1942. By chance, she and her husband are looking to move into his father's spacious apartment and she discovers something of it'… read the rest.

Gilles Paquet-Brenner has put together quite an engaging cast to tell this story of a woman with an hitherto unknown family history. "Julia" (Dame Kristen Scott Thomas) is a journalist with a French magazine who is assigned to write a story of the infamous rounding-up and deportation of the Jewish population of Paris in 1942. By chance, she and her husband are looking to move into his father's spacious apartment and she discovers something of it's history. It was rented, once, to the "Strazynski" family who were victims of that heinous event. As "Julia" begins to investigate further, she finds herself immersed in a poignant story of a family who made some fairly horrific sacrifices so that at least one of them could survive the atrocities to come. It was the young sister "Sarah" (Mélusine Mayance) who came up with the idea of hiding her brother "Michel" (Paul Mercier) in a cupboard. Once interred, though, she was terrified that he could be left alone, or found, or worse - so with the help of a sympathetic French guard manages to make her way, with a friend, to the farm of "Jules" (Niels Arsetrup) where he and his wife offer her protection from her persecutors and essentially treat her as their own. "Julia" now focusses on what happened next, discovering things perilously close to home as she goes along. Though Dame Kristen does well enough here, it's really the young Mayance who steals the scenes. Her performance as the young girl determined to rescue her sibling delivers the real thrust of just how indiscriminate the persecution of her people was. Age, sex, infirmity - the Nazis didn't care and that attitude is briefly, but well extolled, by images of folks on trains like cattle in transit. There must be loads of similar stories to be told like this, but this one is imaginatively photographed, thoughtfully paced and well worth a watch.

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