1915. Life at the Paridier farm has changed dramatically since the men of the family (Constant, Georges and Clovis) left home to go and fight on the front line. Hortense Sandrail, Henri and Constant's mother and Clovis' mother-in-law, has taken over courageously but, although helped by her daughter Solange, she finds it hard to get by with all the workload. When harvest time comes, she makes up her mind to hire a farmhand but she is too late and no man is available. The mayor then recommends her an orphan named Francine Riant, who could do. Hortense agrees and the choice soon appears a blessing, as the girl proves perfect: well-mannered and respectful, she is also a hard worker who does not balk at any task. Hortense, Solange and her form an effective trio, who make the most of the situation. One day, Georges comes back to the farm on leave and he falls in love with Francine.
From the same director
Nathalie Baye (Hortense Sandrail), Laura Smet (Solange), Iris Bry (Francine Riant), Cyril Descours (Georges Sandrail), Gilbert Bonneau (Henri Sandrail), Olivier Rabourdin (Clovis), Nicolas Giraud (Constant Sandrail), Mathilde Viseux (Marguerite Sandrail (as Mathilde Viseux-Ely)), Xavier Maly (Edgar), Marie-Julie Maille (La Monette), Madeleine Beauvois (Jeanne, la fille de la Monette), Alain Artur (Le maire), Adrien Denizou (Le maire de la Monette), Yann Bean (John - un soldat américain), Michel Lamy (Le père), Laurence Havard (Suzanne), Katia Henkel (La gouvernante), Anne-Cécile Le Quere (L'institutrice), Viviane Pavillon (La boulangère), Emilie Texier (La vendeuse tabac), Thierry Duclairoir (Le vétérinaire), Isabelle Bonillo (La factrice), Adèle Lavauzèle (Une gardienne), Blanche Hizembert (Une gardienne), Brigitte Aigueperse (Une gardienne)...
Vivien Aslanian (co-producer), Jonathan Blumental (associate producer (as Jonathan Blumenthal)), Pauline Gygax (co-producer), Max Karli (co-producer), Romain Le Grand (co-producer), Michel Merkt (co-producer), Sylvie Pialat (producer), Benoît Quainon (producer), Gilles Sitbon (associate producer)
"Two years of hell, some people went mad." "After the war, it will be different." Constant (Nicolas Girard)
The WWI soldier, Constant, in director Xavier Beauvois' The Guardians, captures the ambivalence of the "the war to end all wars": combat insanity that comes home with soldiers and the hopeless hope the world will be a better place. The only "better" is the film's depiction of strong women taking the reins of a farm, modernizing it and making a profit.
It's a small village whose story begins in 1915 and ends in 1920 in rural France, just long enough for women to take prominent places in the farms at home and for their returning men to find adjustment a challenge as they carry the memories of unspeakable horrors in the trenches of that "great war."
Hortense (Nathalie Bye), an aging owner of a working farm, rides the plow while she attends to the politics of the large farm without the crutch of a domineering male. She does well enough to engage the services of a young maid, Francine (Iris Bry), who is a change agent for Hortense and her soldier son and a signal of the complications war brings to the world.
The cinematography is a perfect reflection of the tranquil country side lost in a trance of bucolic tasks until the war's change agents arrive. Leave it to French cinema to languish over faces and landscapes, as if Manet or Constable were the artistic director. The slowly panning shots of laborers are as softly powerful as paintings in the camera's movement.
The Guardians is one of the most beautifully photographed and quietly told stories of women abiding the tyranny of war with an aplomb unseen in modern cinema. This minimalist epic is one of the year's best films and an appropriate emblem of the French ability to make cinema art. All other cinema pales by comparison.
Les gardiennes ((original title)) • Los guardianes (Argentina) • Les Gardiennes (Canada (French title); France) • Las guardianas (Spain) • Suojelijat (Finland) • Vokterskene (Norway) • As Guardiãs (Portugal) • Čuvarke (Serbia) • The Guardians (World-wide (English title))
Les Films du Worso, Pathé (co-production), France 3 Cinéma (co-production), Versus Production (co-production), Rita Productions (co-production), Orange Studio (co-production), KNM (co-production), Radio Télévision Suisse (RTS) (co-production), Canal+ (participation), Ciné+ (participation), France Télévisions (participation), Cofinova 13 (in association with), Soficinéma 13 (in association with), Indéfilms 5 (in association with), Cinéfeel 3 (in association with), Eurimages (support), Centre National de la Cinématographie (CNC) (support) (as Centre National de la Cinématographie et de l'Image Animée), Région Nouvelle-Aquitaine (support), Le Tax Shelter du Gouvernement Fédéral de Belgique (support), Cinéforom (support), Loterie Suisse Romande (support), Mission du Centenaire de la Première Guerre Mondiale (support), Caisse d'Epargne Ile-de-France (support), Inver Tax Shelter (support)
widows, countryside, ww1, pregnancy, f rated, female protagonist, 1910s, world war one, rural setting, farm, classroom, singing, orphan, orphan girl, cow, milking, milking a cow, ironing, voice over, voice over letter, death, church, mass, honor, fired from the job, fired from a job, little girl, pregnant, horse, snow...
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