'Saint Omer' — France’s submission for the Best International Feature Film Oscar — is a powerful meditation on the immigrant experience
It’s like watching this story in double vision. Diop’s camera is intently focused on faces — particularly Rama’s, who is so in keyed into these proceedings that moments arrive in which the sound of the court proceeding dims and the audio zeroes in on the taut rhythm of her breathing. Diop slowly builds the brick house of Laurence’s personal narrative up only to give us a court that will systematically tease it apart.
So much of whatwants us to understand is in its approach to the fates of the Black mothers it depicts. So much of what it has to say about the experience of immigrants, in particular, is in the echoes we encounter in these women’s stories. How much of her own mother does Rama see in Laurence? And of herself? And then there’s the other tie — an unexpected encounter with Laurence’s mother, who singles her out as the only other Black woman in the court .
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