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100It "explains" nothing but feels everything. It reminds me of two other films: Bresson's "Mouchette," about a poor girl victimized by a village, and Karen Gehre's "Begging Naked," shown at Ebertfest this year, about a woman whose art is prized even as she lives in Central Park.
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100What makes Seraphine, directed and co-written by Martin Provost, so exceptional is that it neither condescends to nor romanticizes its subject.
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100The scene is so emotionally ravishing that it breaks you apart. The peacefulness that finally descends on Séraphine in the film's final moments is more than a balm. It's a benediction.
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Moreau is bewitching -- she simply breathes her role, without a hint of vanity.
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Among the best of its kind, thanks in no small part to the utterly believable, vanity-free performance of Yolande Moreau in the title role.
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90Séraphine is one of the most evocative films about an artist I've ever seen--and in its treatment of madness one of the least condescending.
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90Provost and cowriter Marc Abdelnour explore the mutable boundaries between spirituality, naivete, genius, and madness, showing how the two outsiders and polar opposites cultivated a mutual understanding.
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88The rare movie that manages to convey the inner soul of an artist.
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88What Moreau does with this role is as inscrutably moving as anything Séraphine Louis painted.
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88With exquisitely simple images and minimal dialogue, Seraphine is both haunting and humane.
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80Moving historical drama brings a fascinating chapter of art history to life.
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80Writer-director Martin Provost tells much of Seraphine's true-life story without words, lingering here on the process by which she makes paints, there on the obsessive single-mindedness she brings to her art.
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80Yolande Moreau's most impressive costars are the extraordinary compositions of Seraphine Louis.
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Séraphine's dependence on her patron--a cultivated but emotionally detached homosexual, who knew a fellow outsider when he saw one but came and went in her life without warning--is almost as unbearably moving as her inevitable unraveling--when money and fame cut the artist off from her creative wellsprings and drove her over the edge.
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80The mystery of Séraphine de Senlis -- who died in a mental hospital in 1942 and whose work survives in some of the world's leading museums -- is left intact at the end of Séraphine. Rather than trying to explain Séraphine, the film accepts her.
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80An extraordinary performance by vet thesp Yolande Moreau in the title role.
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80The line between madness and genius is thin. Not to mention more than amply explored in any number of films about tortured artists. But to look at the almost religious ecstasy on Moreau's face is to feel the artist's passion and be inspired by it.
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78A genuinely moving portrait of the artist as a young(ish) scullery maid.
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75It is an actors' showcase, without being showy, and Moreau and Tukur reveal radically different personalities with just enough in common to make things interesting.
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75It's a movie about a scrubwoman who paints - so don't expect lots of sex scenes or car chases. Just expect a great performance by Moreau, who will convince you that she painted every one of those paintings - and lived them all before she painted them.
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75We don't get a good look at a painting until 35 minutes into the film biography of Séraphine de Senlis, the early 20th-century French painter discovered by German art collector Wilhelm Uhde. The film Séraphine is not about paintings.
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67Séraphine is far more powerful when it lingers on Louis at work.
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User score distribution:
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Positive: 5 out of 8
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Mixed: 1 out of 8
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Negative: 2 out of 8
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sunflower10
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WillT4The producer never learned to edit apparently. Would have been great if condensed to 1 hour.