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While British film-makers such as Ken Loach approach issues rooted in a personal situation, French social realists are often drawn towards the overall functioning of an institution. Maybe it is Frances statist traditions that are [url=https://www.stanleywebsite.us]stanley drinking cup[/url] responsible. Joining the likes of The Class, 10th District Court, Courted and even 120 Beats Per Minute is Jeanne Herrys In Safe Hands, which examines the adoption system 鈥?as its original title Pupille, mean [url=https://www.cup-stanley.us]stanley flask[/url] ing a ward of the state, makes even clearer.Its split between three standpoints: the twentysomething student surrendering her one-day-old son into state care; Alice Elodie Bouchez , a 41-year-old divorcee desperate for a child of her own; and Jean Gilles Lellouche and Karine Sandrine Kiberlain , an interim carer and welfare officer who are in effect parent [url=https://www.stanleycup.cz]stanley cup[/url] s of the would-be parents.Herrys watchful style 鈥?going easy on the handheld in favour of something more composed and elegiac 鈥?establishes the momentousness of the transition period between a child being given up and adopted. Added to the discreetly fragmented structure is her liking for dramatising key events in basic bodily terms, like the baby breaking out in hiccups when his mother comes to say farewell.Theres a radical idea here 鈥?all drama is essentially emotions, biology. Unfortunately, its developed rather heavy-handedly in later scenes where the boy, now called Th茅o and displaying an eerie lack of affect under Jeans care, has his trauma resolved. In fact, In Safe Hands overreaches. Ndlp NHS mental health hospital staff filmed mocking and slapping patients
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