A sweeping social protest met with utter chaos in an emergency room—especially to the American festival-goer at Cannes, this brief sounds like an unpleasant evocation of 2020.
And indeed, filmed in the immediate aftermath of the gilets jaunes protests in France, Catherine Corsini’s “The Divide” (“La fracture”) both reflects the past year and eerily foreshadows the true disaster in emergency rooms that followed the events of the film.
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