Describing it as “a warm reminder of Philbert’s perceptive gifts,” Variety‘s critic noted that the film’s “human subjects are both expressive and highly vulnerable, open to the low-key, non-invasive presence of the camera.” Candidly and sometimes humorously surveying the daily routines of The Adamant, a waterborne day-care facility for people with a variety of mental disorders, it speaks not just to cinephiles but to anyone: Like Philibert’s 2002 arthouse hit “Être et Avoir,” a similarly touching, unadorned study of a rural school, it centers on universal values of care and empathy. It was an apt way to introduce a film that stood out in this year’s Competition lineup for its emotional directness and lack of formal fuss.
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