The horrors of the Korean war field hospital in M*A*S*H flashed immediately to mind watching Catherine Corsini’s The Divide, set over one night in the emergency department of a Parisian hospital in the aftermath of a Yellow Vests (gilets jaunts) protests.
Corsini agilely combines elements of cinéma verité and farce, turning a relentless gaze on France’s political and economic woes under the reign of President Macron and the overworked and under-resourced hospital staff trying to cope in the worst of all possible worlds. At one point patients are locked out from treatment because of the chaos inside.
The interaction between the neatly drawn characters provides much of the narrative thrust including Valerie Bruni Tedeschi as a comic book artist with a cracked elbow, Marina Foïs as her on-off long-time partner and Pia Marmaï as a protesting trucker with shrapnel in his blood-soaked leg, who harbours an innocent idea that Macron.
Corsini agilely combines elements of cinéma verité and farce, turning a relentless gaze on France’s political and economic woes under the reign of President Macron and the overworked and under-resourced hospital staff trying to cope in the worst of all possible worlds. At one point patients are locked out from treatment because of the chaos inside.
The interaction between the neatly drawn characters provides much of the narrative thrust including Valerie Bruni Tedeschi as a comic book artist with a cracked elbow, Marina Foïs as her on-off long-time partner and Pia Marmaï as a protesting trucker with shrapnel in his blood-soaked leg, who harbours an innocent idea that Macron.
- 9/4/2021
- by Richard Mowe
- eyeforfilm.co.uk
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