I am not a professional reviewer nor a movie expert. I have been struck by this movie since I recognize a lot in my personal life. My wife suffers from a bipolar disorder, and it took us 10 years to understand what she has before we could start proper treatment. This movie shows in a subtle and nuanced way, without judging, the systemic and destructive effects of this dreadful illness. I am fascinated by the way Joachim Lafosse, already at the age of 37, has been able to show the transformation of the relationship and behavior of the two other main characters, the partner and doctor. Many reviews suggest a perpetrator-victim relationship, for me Lafosse effectively showed that the whole family is a victim of this illness. In French "Tout comprendre c' est tout pardonner"; when you understand, you forgive. Very, very well done and the mother brilliantly played by Emilie Dequenne. This is a must see for everybody who knows somebody with a mental illness.

Belgian Director Joachim Lafosse takes on a very uncomfortable subject. We are practically told the subject of the film from the beginning when we see 4 small coffins coming out of a plane. We then go back to happier times when the central couple first get together. Obviously this is going to lead up to the tragic finale when the 4 children are murdered, so there is always an impending sense of doom and unease when watching the film. The cinematography adds to this very well as the frames always have something out of focus in the foreground, almost a voyeuristic perspective like they are being watched all the time. Also the frame always seems cluttered and the shots always close up giving a claustrophobic feel.The couple in question (most notably the wife) undergoing this scrutiny and claustrophobia are Mounir (Tahar Rahim) and Murielle (Emilie Dequenne). Mounir is a Morroccan immigrant who legally lives in Belgium because of his adoptive father Dr Andre Pinget (Niels Arestrup). He lets Mounir live in his house and has also given him a job at his practise. As a man of considerable wealth, Dr Andre Pinget helps the couple when they get married and has them both living with him, and tags along on their honeymoon. He has also married one of Mounirs sisters, purely as an arrangement so she can live in Belgium. Basically I see Dr Pinget as a man who wants to free people from the 'oppressive' Muslim culture of Morrocco so they can live 'free' lives in Belgium. With the whole arrangement of Mounir and Murielle living under his roof with 4 children, and with Dr Pinget's influence over Mounir, this proves very stifling for Murrielle. Murielle is expected to look after the children at all times and is blamed entirely if anything goes wrong. While Dr Pinget proves useful for any medical and financial assistance, he lacks emotional sensitivity and compassion. He makes Murielle feel guilty every time she protests about the situation and feels she can't talk to her husband as he always agrees with Dr Pinget. With seemingly no way out, Murielle gradually sinks into a downward spiral towards a pit of depression. The face of happiness you often see at the start of the film descends into a face of despair and desperation. This obviously leads to the tragic event which is done with subtlety, but still shocking.This is based on a true story which took place in Belgium. I feel the Director re created these events not to gain the understanding of an audience, but to have the audience ask questions and come to their own understanding of such an horrific event. I feel one point which is raised and not often discussed in reviews I have read is about how in some ways Western culture can be just as oppressive as Muslim culture. I feel this is significant, at a time where many of the worlds problems tend to be blamed on Muslim culture, which I feel is a very misguided view. Part of the blame of Murielles downfall is because of a masculine household, lack of compassion from the male characters and inability to express true feelings. I found the only compassionate character was Mounir's mother, a devout Muslim. She is the only person who shows sympathy towards Murielle, especially in a tender scene where they embrace at the airport. The desperation in Murielle's face and her inability to let go shows her desperation for feminine connectivity.The more you think about it, more questions arise. Did Murielle really have a hard time? She has everything she needs. Does she have a history of mental illness? The film does not hint at this and is left open. Is Dr Pinget a bad person or is he doing what he feels is right? Should we feel sympathy for Murielle? These are only some of the questions I had. I felt there where too many questions and some story threads were left unfinished. One of the biggest flaws of the movie was the fact that Mounir was not featured in the final 30 minutes of the movie. I felt his character needed some closure…and at least a scene with Dr Pinget. As far as performances are concerned, it was expertly acted. I feel Emilie Dequenne is one of the best performances I have seen this year so far this.A memorable film for obvious reasons, but not a film I would want to experience again! Check out my film review blog - www.projectionistreview.wordpress.com

A Perdre La Raison starts badly because within the first moments, Joachim Lafosse chose to reveal the final outcome: 4 little coffins, what's more white, one quickly can connect the dots which completely annihilates the element of surprise and ruins part of the interest of the movie, which anyway remains minimal.Indeed, we're dealing with a superficial script, that raises a lot of questions but only offers a few answers which is very frustrating. One has trouble grasping the stakes and understanding the motivations because under the guise of suggesting, the movie never gets deeper on anything. The plot is very, very limited the dramatic resources are almost nonexistent and the lack of dialogues is as heavy as the atmosphere prevailing within this distinctive family, to say the least.The character of André, quite intriguing and very well embodied by the ageless Niels Arestrup, is the only thing to remember.

Two arcs propel Joachim Lafosse's remarkable Our Children. The most obvious and significant is the heroine Murielle's decline from a beautiful, loving, young spirit to a depressed, oppressed, despairing drudge. She proves the dictum, Biology is destiny. From her honeymoon through her four child bearings she loses her sense of self, her liberty, her control over her life. Her last action is her tragic resolve to save her three daughters and one son from their being ruined by the sexist, patriarchal system that destroyed her. Unable to grant them liberty she gives them death. Though her Moroccan husband Mounir claims he doesn't want to raise his daughters in his sexist homeland, Murielle is destroyed by a European patriarch in Belgium. Dr. Pinget provides the antithetic arc. His apparent generosity and care are gradually exposed as heartless self-serving power and authority. Having married a young Moroccan woman, he leaves her in her homeland but brings one of her brothers, then eventually the other, to Europe variously to serve him. When his hopes to have Mounir join his medical practice are dashed, he hires him for office work. He pays for Mounir and Murielle's honeymoon, then agrees to join them. He shares his house with them, then to keep them buys them an estate where he again lives with them. His callousness towards Murielle drives her tragedy. The tension between the Moroccan family and the fat, hedonistic, impotent but suffocatingly powerful white European doctor adds another compelling theme. This domestic tragedy is also a parable for European colonialism. The white power insinuates itself into its colony, funds it, wins its trust and affection, imposes its own culture, but for all its pretense of generosity and care insists on dominating it and imposing its will. Any move to independence is suppressed as an affront to nature and to reason. (The film's original French title is A Prendre la raison, or Insanity.) That ruthless power is what the male patriarchy shares with the European colonial tradition.The film opens with a woman crying, begging that her four children be buried in Morocco. So it's a whodunit. Except here the killer is the true victim. For more see www.yacowar.blogspot.com.