Léa Pool’s We’ll Find Happiness: A Bureaucratic Strip Search of Queer Lives

November 11, 2025

Léa Pool’s We’ll Find Happiness (On Sera Heureux) follows Reza and Saad, queer lovers and asylum seekers whose love story is literally put on trial by Canada’s refugee system, forcing them to expose, edit, or weaponize their intimacy to survive. The film is at its strongest when it shows the brutal absurdity of having to “prove” one’s sexuality to bureaucrats and traces the precarious journey through camps, borders, and administrative suspicion. But it leans heavily into melodrama and symbolic burden…

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A Spectacle of Black Suffering: When No Chains, No Masters Lets Anti-Slavery Cinema Re-Enact the Violence It Condemns

Before anything else, a clear warning: No Chains, No Masters contains repeated, graphic, and prolonged scenes of violence against Black bodies—whippings, branding, muzzling, animal-like treatment, executions—shown in close detail and with very little respite. For Afro-descendant viewers, especially those already carrying inherited or lived trauma around slavery and anti-Black violence, this is not a neutral “history lesson”: it can be overwhelming, triggering, and, at times, feels closer to an unbroken spectacle of suffering than to a space for mourning, resistance, or complex remembrance.

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Familiar Faces in a New Moral Knot: Robert Guédiguian’s The Thieving Magpie

In The Thieving Magpie, Robert Guédiguian returns to his Marseille family—Ariane Ascaride, Jean-Pierre Darroussin, the working-class apartments and port-side streets—but knots them into one of his sharpest moral dilemmas. Maria, an overworked home-care aide with a good heart and an empty wallet, quietly steals small sums from the elderly people she tends in order to support her grandson, just as her daughter falls in love with the son of one of her clients.

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Costa-Gavras’ The Last Breath: Humanizing Medicine and the Politics of Care

Costa-Gavras’ The Last Breath is a sober, talk-driven drama that turns away from medical heroics to ask what happens when curing is no longer possible and only caring remains. Through the encounters between a renowned philosopher (Denis Podalydès) and a palliative-care doctor (Kad Merad), the film probes how to tell the truth, when to stop treatment, and how to accompany patients who know they are nearing the end.

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Niels Tavernier’s The Future Awaits: Repetition Without Depth

The Future Awaits (La vie devant moi) focuses on one Jewish family hidden in a Paris chambre de bonne after the Vél d’Hiv roundup, guided by the real testimony of Tauba Birenbaum. Niels Tavernier’s film is strongest when it sticks to that narrow premise: the claustrophobia of silence, the grinding fear of being discovered, the moral courage of Rose and Désiré, the ordinary couple who choose to hide them.

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