The Cinematic Fascination of the Face: Diary of a Country Priest

It sometimes seems so obvious that we can forget that the face is central to cinema’s meaning. It is through the face of the actor that we are further absorbed into drama, the romance, the comedy. Think of the exchange of looks between Adèle Haenel and Noémie Merlant in Portrait of a Lady on Fire as a prime example. However directors have taken different approaches to the expressiveness of the actor’s face reducing the emotion to reveal, as cultural philosopher Roland Barthes described of Greta Garbo, an idea rather than an event. Here's a programme of films for you this week that celebrate the cinematic fascination of the face.

A pious young priest (Claude Laydu) taking over in the rural French village of Ambricourt tries to fulfil his duties even as he fights a mysterious stomach ailment.

He's idealistic and wants to be of help, but his actions are misunderstood and the congregation rejects him immediately. Despite suffering from a serious disease in the stomach, the inexperienced and frail priest tries to help the dwellers. Through his diary entries, the suffering young priest relays a crisis of faith that threatens to drive him away from the village and from God.

Mark Cosgrove our Cinema Curator says:

Robert Bresson famously cast unknown actors in his films and wanted no expression of emotions from them instead the viewer brings their own interpretation. In Claude Laydu’s face we enact his struggle with faith and belief.

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