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The film is a hard story of visions reported that the Roman Catholic Church is a miracle.
By Ben Kenigsberg
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“Fatima” is based on the life of Sister Lucia, who in 1917, along with two of her cousins, claimed to have noticed visions of the Virgin Mary in a box in Fetima, Portugal. Crowds of other curious people flocked to the site en masse. When observers reported seeing fantastic solar phenomena, what was called the “miracle of the sun,” this was treated as corroboration. The Roman Catholic Church considered the apparitions “worthy of faith” in 1930.
By making Lucia’s visions visual to the audience (Joana Ribeiro plays Mary), the film, directed through Marco Pontecorvo, son of filmmaker Gillo Pontecorvo (“The Battle of Algiers”), makes it clear that she is not in the aspect of skeptics. . It’s a valid choice, but from a dramatic point of view, it’s also an evasion. The film would be harder if it forced viewers to do their own religious act and settle for what they may not see.
“Fatima,” narrated in flashbacks, confronts Lucia opposite two antagonists. In 1989, Lucia (Sonia Braga) answered questions from a dubious instructor (Harvey Keitel) recalling times from her childhood. In the 1917 scenes, Lucia (Stephanie Gil) resolutely opposes her parents, the clergy and, in particular, a mayor (Goran Visnjic), whose anti-clericalism is so fierce that when she announces the news of Lucia’s brother, who fought in World War I, she mocks Lucia’s visions.
Such characterizations to an e are complemented by an elegant desaturated palette, which contributes to a solemn and enduring atmosphere. Although the film can communicate with the audience with a non-secular investment in those events, it does little so that others are alive.
Fatima Classified PG-13. Violence of war. Running time: 1 hour 53 minutes. Rent or buy on Google Play, Vudu and streaming platforms and pay-TV operators.
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