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NAMUR 2012

In the Name of the Father: In the name of the mother, the son, and the unholy ghost

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- Vincent Lannoo's film is an iconoclast comedy peppered with references that centres on a revengeful mother very annoyed by a code of silence

Whereas he has only just released his previous film in Belgian cinemas (Little Glory [+see also:
trailer
film profile
]
) and is already working on his new film (Les Ames de Papier, a romantic comedy set to a backdrop of zombies with Nicolas Bedos and Laura Smet), Vincent Lannoo recently unveiled his new film, Au nom du fils (lit. "In the name of the son"), at the Toronto International Film Festival. Unpredictable as ever, Lannoo has made a schoolboyish yet successful film, that starts like an Etienne Chatilliez comedy, continues like a Tarantino film, and ends like a Clint Eastwood western (but with less men).

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Elisabeth has everything to be happy, it seems (to her). A loving family, the spitting image of a model family, an active and appreciated role within her community, and especially, unwavering faith. When the parish has to save on running costs, Elisabeth welcomes Father Achille into her home. The religious man’s frequent visits should contribute to elevating this little family both morally and spiritually. Unless... Of course, we suspect it even before the plot unfolds. It’s about the church, and therefore is also about pedophilia. Even if the evidence is (sometimes) a little easy, Lannoo however carries off his approach: to accompany this pious woman not on a journey down to hell but towards real life as she is violently caught up by a crisis of faith. Elisabeth, assailed on all sides by violent deaths, deviant priests, and bishops who have faith but follow no laws apart from the code of silence, transforms herself into a revengeful mother intent on defending her dead ones, even if it means sowing death along her way. Lannoo does not shy away from litres of haemoglobin, plays with gospel, delightedly blasphemes, and amuses himself by turning this mother of this perfect family into a clumsy dueller who inadvertently starts a religious war. It all makes for an enjoyable, iconoclast film made with little means except faith in cinema that is both fresh and hard-hitting.

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