Katell Quillévéré (who directed and co-wrote the script based on Maylis de Kerangal’s novel) is a talent new to me and I can’t wait to see more. Heal the Living focuses on a heart transplant: the first half of the film deals with the donor’s death and his family’s reaction; part two is about the recipient. The film manages to represent sublime moments in life: for the donor it is surfing (superbly photographed); for the recipient it is a piano concert played by a former lover. It also has a documentary eye on the actual heart surgery and, more importantly, the way doctors and nurses deal with the extreme emotions involved in the death of a child and the professional necessity of getting on with the job.
Of course such extremes rely on the actors to deliver the director’s vision and the assemble cast deliver with utmost skill. The putative star, Tahir Rahim (above right), has less screen time than some but manages to convey deep humanity from an apparently passive face; Quillévéré gives him time to explain why he loves goldfinches, to the be/amusement of a couple of nurses. The other ‘big name’, Emmanuelle Seigner, is similarly superb as the bereaved mother. However, all the cast hold there own with deeply committed performances.
It may appear a film about organ donation will be a ‘bit grim’, and there is much sadness represented in the film, but ultimately it is life affirming. Quillévéré takes time to dip into the lives of peripheral characters: a nurse has a sexual fantasy in a lift; a son hides his ‘dropping out’ from his mother. Her presentation of the bewilderment and joy of youth, when a boy meets a girl, is affectingly done and I’ve already mentioned the joie de vivre of the surfing sequence.
I read that the heart surgery scene is all special effects: they are as impressive as the film itself. Often cinema is an idea medium to spend some time in the ‘lives of others’. Heal the Living gives us time to understand the pain of the bereaved and at the same time understand the vitality of life.