_In His Hands_ is an early Anne Fontaine film about a "normal,"
middle-class family being rocked out of their pallid routines.
Like _House Cleaning_, which I confess I barely remember now,
the intrusion comes in the form of an enigmatic stranger
(Benoit Poelvoorde). Insurance agent, regimented housewife
and mother, and all-round wallflower Isabelle Carre is smitten
and opens up to him. ("Why do you always look so fresh and
sweet?" her best friend asks.) Soon she knows him well
enough to suspect him of being the serial killer who is
terrorizing Lille, but deludes herself into denying it until
it is too late.

I haven't seen that many films with Isabelle Carre but I
have never seen her remotely this good. It is a just a
perfectly modulated performance. Not even in that Zabou
Breitman film for which she won a Cesar, or in Alain
Resnais' masterful _Private Fears in Public Places_, is
she as memorable. I'd say that Carre's work elevates this
film above _Le Boucher_ (which has similar plot elements)
and Stephane Audran! Director Anne Fontaine brings out
the best in her leading actress again. If you are looking
for a surprise ending this film is probably not for you.
It is a character study. Or two-character study, although
I don't find Benoît Poelvoorde all that compelling (or
attractive). But I'm sure that's just me. Fontaine likes
her stories subversive and her characters quietly
trangressive. Lille is very beautifully photographed as
well. Valerie Donzelli deserves kudos in her supporting role.

-----------------------------------------------------------------

The antogonist in _The Eyes of Tammy Faye_ is arguably also
self-deception. But first thing first -- the film is a
magnificent Jessica Chastain showcase. Chastain is perfectly
capable of restrained, compact performances too (_The Tree of
Life_, _The Debt_, _The Zookeeper's Wife_, _Woman Walks Ahead_),
but in _Tammy Faye_ she goes for maximalism (like in _The Help_,
_Miss Julie_) -- and even adds singing and prosthetic-aided aging
to her repertoire. (One almost wishes she had played the Helen
Mirren part in _The Debt_ to!) It goes without saying that you
can't take you eyes off her in _Tammy Faye_, and I hope she
finally gets her Oscar. I prefer her brainy characters (_Miss
Sloane_, _Molly_, _Interstellar_, _Ada_). But every Chastain
starring vehicle is a special event.

In interviews the actress-producer highlights the scene where
Tammy Faye interviews a gay pastor afflicted with AIDS, and
how she is touched by Faye's unbridled compassion there. The
brings out the unexpected humanity in this much ridiculed
character, and is the eureka moment that launched the film.
Watching the end product, it is easy to see why actresses
identify with Faye, who is portrayed as a born performer
and scene stealer from an early age. (Unlike her character
who constantly seeks attention, Chastain has the good sense
to withdraw from the public eye during COVID -- she has
barely been seen for 2 years prior to the premieres of her
recent work.)

x x x x x x x x

Now back to the film. The key scene of the film is the last.
The disgraced Faye, invited back to a Christian gathering for
the first time in years, hestitantly steps on stage. But soon
she is back to her effusive self, rousing the audience to their
feet. Her song (re-recorded by Chastain), about God liking us
"just the way we are," is accompanied by an imagined, triumphant
chorus with balloons and the American flag as back-drop.

Despite its empathy for the protagonist, the film indicts a
unique brand of American gullibility and naivety, with Faye
as both victim and perpetrating culprit. (I am surprised
that the apparent "anti-Americanism" here hasn't caused
Armond White to brand this the worst film of the year yet!)
The film could have given more context for its cynicism.
The 1970s and 1980s, the setting of most of the film, saw
so much American embarrassment -- the televangelist scandals
of course but also Vietnam, Iran-Contra, CIA-sponsored coups
in Central America, the Savings and Loans scandal. If the
director wants to have that last scene, he owes it to us
to make the film a referendum of the 80s.

Indeed willful naivety, rather than plain old greed (Tammy
and Jim's notorious gold-plated toilet, expensive furs, and
all) is arguably the film's antagonist. The US of A seems
to have an abundance of deluded kids following (propelling?)
their Pied Pipers to oblivion. The film is a bit cluttered
but it may have (unintentially?) provided a reason: the
obsession with unfettered upward mobility. Tammy and Jim
Bakker are idolized by millions who helps fund their excesses.
More than a few have followed their televanelist playbook,
although once again the film leaves the audience to connect
the dots. In turn the Bakkers look up to Jerry Falwell (who
stabs them in the back), and cozies up to Pat Robertson.
Robertson looks to run for the White House. The guy he
wants to replace is of course Ronald Reagan, the original
virtue-signaling "Great Communicator." He is mentioned
in passing in the film but casts a long shadow indeed.
Reagan is arguably an even bigger fraud than the Bakkers,
eventually chastised for illegally sends arms to Iran so
they and the Iraqis (also armed by the US) can merrily
kill each other. (I should know -- I fell for Reagan's
con job.) You wonder how many in the Tammy Faye concert
also dream of emulating her success and conveniently
overlook her downfall.

x x x x x x x x

Yet many in that audience must have been genuinely touched by
her compassion too. The film has a complex, nuanced view
of its protagonist but I wish it would do the same for
Christianity and Christians. The only honest "preacher"
is Faye's mother, played by Cherie Jones, who has divorced
and is in disgrace. In reality Christians do a tremendous
amount of charity work; surely some of this could have been
shown in the film. Unfortunately, charity work is of zero
interest to those on the political left or right obsessed with
culture wars, abortion, patriarchy, and Islam. The subject
of Tammy Faye Bakker is one entwined with so much history
of relevance today; the film could have done so much more.

I look forward to Chastain in the upcoming _The Forgiven_,
directed the brilliant John Michael McDonagh, who knows a
thing or two about nuanced depiction of religions.