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Publisher Charin Alvarez: https://twitter.com/CharinAlvarez- Bio: Actor (Represented @grossmanandjack. Wife. Mother. I love to bake & cook. Ensemble actor @teatrovista Runtime - 1H 46m /
Writers - Kelly O'Sullivan /
Country - USA /
https://m.media-amazon.com/images/M/MV5BMWFkODE5NjctZjc1Ni00OTIwLWFjYjAtZTU2MDFkZDI1NmMxXkEyXkFqcGdeQXVyMjQ0NzcxNjM@._V1_UY190_CR0,0,128,190_AL_.jpg /
7,8 / 10 stars /
movie info - Thirty-four-year-old aimless server Bridget hasn't yet achieved her goal of becoming a respected writer. When casual relations with a younger 'nice guy' leads to an unexpected confrontation with potential motherhood, she manifests a job nannying a pint-sized spirit guide disguised as an obstinate six-year-old.
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The termination of an unplanned pregnancy and a job nannying a precocious 6-year-old girl prompt a directionless young woman to recalibrate her notions of family in Alex Thompson's first feature.
"I'm not an impressive person, " says screenwriter and lead actor Kelly O'Sullivan as the emotionally untethered Bridget toward the end of Saint Frances. "I don't have a husband or kids or a fancy job. " Those standard markers that define life fulfillment for many women are held up for gently ironic questioning in Alex Thompson's slender but appealing debut feature. Of note for its nonjudgmental stance on abortion and its normalizing treatment of queer parenting, though not immune to occasional heavy-handedness or caricature, the film has enough modest charms to connect with audiences similarly navigating the bridge between youthful detachment and grounded adulthood.
The funny intro scene swiftly nails Bridget's insecurities as she listens with increasing discomfort to a random guy at a party recount a nightmare in which, having hit 34 with no significant achievements, he hurls himself out a window. While sheepishly admitting that she is in fact 34 and waiting tables, Bridget makes eye contact with a younger guy, Jace (Max Lipchitz), across the room. She latches onto him like a life raft, grateful to learn that he's a fellow server unlikely to add to her sense of inadequacy.
The unexpected arrival of her period during sex yields a major mess the next morning, but in a moment that flips the received gender norms and is echoed elsewhere in the movie, 26-year-old Jace is revealed to be a paragon of sweet sensitivity, taking the bloodbath in stride as he helps Bridget clean up her bedding.
A Northwestern creative-writing dropout, Bridget attempts to escape her diner job by applying to work as a nanny for a mixed-race lesbian couple in the affluent Chicago suburbs. Their proudly liberal sensibilities are advertised with a "Hate Has No Home Here" sticker on the front door and a "Black Lives Matter" sign on the lawn. But her candid ambivalence about kids and failure to make an impression on their opinionated 6-year-old daughter Frances (Ramona Edith-Williams) — "We're done, " says the girl, abruptly ending their exploratory first meeting — mean she only gets the job months later as a fallback choice after a more experienced childcare worker has bombed.
Meanwhile, Jace has become a regular part of Bridget's life, even if she's reluctant to call what they have a relationship. Faced with an unplanned pregnancy, she doesn't hesitate in choosing an abortion, resisting Jace's tentative efforts to talk through other options.
The chief narrative engine is the evolving friendship between Bridget and Frances, who constantly tries to outsmart and manipulate the inexperienced nanny in their early excursions together to the park or library. But the willful brat slowly comes around to feel affection and maybe even admiration for Bridget. Just as Bridget is feeling like a failure for not having figured out what to do with her life, this clever, curious, intuitive kid, who has grown up in a feminist household exposed to adult concepts from a young age, quietly boosts the older woman's self-worth and improves her attitude toward future possibilities.
Some of this borders on formulaic, but while O'Sullivan's performance is a tad muted in the central role, Edith-Williams is such a disarmingly natural screen presence that she keeps it fresh. And O'Sullivan's script camouflages the familiar aspects with the more soulful interactions between Bridget and one of Frances' mothers, Maya, played by Charin Alvarez in the film's standout performance. While her wife Annie (Lily Mojekwu) works long hours in a demanding job, Maya is adrift, dealing with postpartum depression following the birth of Frances' baby brother. That thread enriches the story with melancholy notes that dovetail nicely with Bridget's introspective moments.
While the abortion is treated matter-of-factly, without a trace of melodrama, Bridget deals with physical after-effects for many weeks. Jace, by contrast, keeps an "emotions journal" full of unprocessed feelings that he tries to get her to discuss. This gives rise to an amusing joke about millennials having too many feelings, while Bridget excludes herself by clarifying, "I'm on the cusp. " A part of the character's growth is her eventual willingness to open up, a shift influenced by the renewed closeness of Maya and Annie, making Saint Frances a belated coming-of-age story.
The delicacy of those core elements is not always matched by O'Sullivan's writing of the peripheral characters. A single scene with Bridget's parents (Chicago theater vets Mary Beth Fisher and Francis Guinan) adds little, and a quasi-romance with a hippie-dippy guitarist (Jim True-Frost) from Frances' artsy daycare center, even less.
It's no doubt true that pockets of conservative intolerance exist in Chicago's well-heeled 'burbs, but an indignant woman at the park (Rebecca Spence), bristling about Maya breast-feeding in public, feels more like a device than a real person. Likewise, a neighbor of Maya and Annie's (Rebekah Ward), who remembers Bridget from Northwestern and starts treating her like the help as soon as she registers the situation. The woman is such a toxic asshole — she wrote a motivational book called Resting Rich Face and has an "Unborn Lives Matter" sticker on her refrigerator — that you question whether their kids' playdates would be enough to sustain even a superficial friendship with the lesbians next door.
But Thompson's direction and O'Sullivan's screenplay are more often characterized by their light touch than their missteps in a likeable film elevated by its crisp, summery look and warm score.
Production companies: Runaway Train, in association with Easy Open Productions, Metropolitan Entertainment
Cast: Kelly O'Sullivan, Charin Alvarez, Lily Mojekwu, Max Lipchitz, Jim True-Frost, Ramona Edith-Williams, Mary Beth Fisher, Francis Guinan, Rebecca Spence, Rebekah Ward
Director: Alex Thompson
Screenwriter: Kelly O'Sullivan
Producers: Pierce Cravens, Ian Keiser, Eddie Linker, Alex Thompson, James Choi, Raphael Nash, Roger Welp
Executive producers: Greg Beckway, Diane Beckway, Bob Rubin, Roger Welp, Fred LeVine, Bob Ryan, Lynne Ryan, Eric Ashworth, Andy Salmen, Nancy Shields, Walter Gallwas, Sarah Martin, Paul Reiger, Pierce Cravens, Ian Keiser, Raphael Nash, Haroula Rose Spyropoulos
Director of photography: Nate Hurtsellers
Production designer: Maggie O’Brien
Costume designer: Eric Thompson
Music: Quinn Tsan, Alex Babbitt
Editor: Alex Thompson
Casting: A. J. Links, Mickie Paskal, Jennifer Rudnicke
Venue: SXSW Film Festival (Narrative Feature Competition)
Sales: Visit Films
98 minutes.
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Frances was born in the city of Rome in 1384 to a wealthy, noble family. From her mother she inherited a quiet manner and a pious devotion to God. From her father, however, she inherited a strong will. She decided at eleven that she knew what God wanted for her -- she was going to be a nun.
And that's where her will ran right up against her father's. He told Frances she was far too young to know her mind -- but not too young to be married. He had already promised her in marriage to the son of another wealthy family. In Rome at that time a father's word was law; a father could even sell his children into slavery or order them killed.
Frances probably felt that's what he was doing by forcing her to marry. But just as he wouldn't listen to her, Frances wouldn't listen to him. She stubbornly prayed to God to prevent the marriage until her confessor pointed out, "Are you crying because you want to do God's will or because you want God to do your will? "
She gave in to the marriage -- reluctantly. It was difficult for people to understand her objection. Her future husband Lorenzo Ponziani was noble, wealthy, a good person and he really cared for her. An ideal match -- except for someone who was determined to be a bride of Christ.
Then her nightmare began. This quiet, shy thirteen year old was thrust into the whirl of parties and banquets that accompanied a wedding. Her mother-in-law Cecilia loved to entertain and expected her new daughter-in-law to enjoy the revelry of her social life too. Fasting and scourging were far easier than this torture God now asked her to face.
Frances collapsed from the strain. For months she lay close to death, unable to eat or move or speak.
At her worst, she had a vision of St. Alexis. The son of a noble family, Alexis had run away to beg rather than marry. After years of begging he was so unrecognizable that when he returned home his own father thought he was just another beggar and made him sleep under the stairs. In her own way, Frances must have felt unrecognized by her family -- they couldn't see how she wanted to give up everything for Jesus. St. Alexis told her God was giving her an important choice: Did she want to recover or not?
It's hard for us to understand why a thirteen-year-old would want to die but Frances was miserable. Finally, she whispered, "God's will is mine. " The hardest words she could have said -- but the right words to set her on the road to sanctity.
St. Alexis replied, "Then you will live to glorify His Name. " Her recovery was immediate and complete. Lorenzo became even more devoted to her after this -- he was even a little in awe of her because of what she'd been through.
But her problems did not disappear. Her mother-in-law still expected her to entertain and go on visits with her. Look at Frances' sister-in-law Vannozza --happily going through the rounds of parties, dressing up, playing cards. Why couldn't Frances be more like Vannozza?
In a house where she lived with her husband, his parents, his brother and his brother's family, she felt all alone. And that's why Vannozza found her crying bitterly in the garden one day. When Frances poured out her heart to Vannozza and it turned out that this sister-in-law had wanted to live a life devoted to the Lord too. What Frances had written off as frivolity was just Vannozza's natural easy-going and joyful manner. They became close friends and worked out a program of devout practices and services to work together.
They decided their obligations to their family came first. For Frances that meant dressing up to her rank, making visits and receiving visits -- and most importantly doing it gladly. But the two spiritual friends went to mass together, visited prisons, served in hospitals and set up a secret chapel in an abandoned tower of their palace where they prayed together.
But it wasn't fashionable for noblewomen to help the poor and people gossiped about two girls out alone on the streets. Cecilia suffered under the laughter of her friends and yelled at her daughters-in-law to stop theirs spiritual practices. When that didn't work Cecilia then appealed to her sons, but Lorenzo refused to interfere with Frances' charity.
The beginning of the fifteenth century brought the birth of her first son, Battista, after John the Baptist. We might expect that the grief of losing her mother-in-law soon after might have been mixed with relief -- no more pressure to live in society. But a household as large as the Ponziani's needed someone to run it. Everyone thought that sixteen-year-old Frances was best qualified to take her mother-in-law's place. She was thrust even more deeply into society and worldly duties. Her family was right, though -- she was an excellent administrator and a fair and pleasant employer.
After two more children were born to her -- a boy, Giovanni Evangelista, and a girl, Agnes -- a flood brought disease and famine to Rome. Frances gave orders that no one asking for alms would be turned away and she and Vannozza went out to the poor with corn, wine, oil and clothing. Her father-in-law, furious that she was giving away their supplies during a famine, took the keys of the granary and wine cellar away from her.
Then just to make sure she wouldn't have a chance to give away more, he sold off their extra corn, leaving just enough for the family, and all but one cask of one. The two noblewomen went out to the streets to beg instead.
Finally Frances was so desperate for food to give to the poor she went to the now empty corn loft and sifted through the straw searching for a few leftover kernels of corn. After she left Lorenzo came in and was stunned to find the previously empty granary filled with yellow corn. Frances drew wine out of their one cask until one day her father in law went down and found it empty. Everyone screamed at Frances. After saying a prayer, she led them to cellar, turned the spigot on the empty cask, and out flowed the most wonderful wine. These incidents completely converted Lorenzo and her father-in-law.
Having her husband and father-in-law completely on her side meant she could do what she always wanted. She immediately sold her jewels and clothes and distributed money to needy. She started wearing a dress of coarse green cloth.
Civil war came to Rome -- this was a time of popes and antipopes and Rome became a battleground. At one point there were three men claiming to be pope. One of them sent a cruel governor, Count Troja, to conquer Rome. Lorenzo was seriously wounded and his brother was arrested. Troja sent word that Lorenzo's brother would be executed unless he had Battista, Frances's son and heir of the family, as a hostage. As long as Troja had Battista he knew the Ponzianis would stop fighting.
When Frances heard this she grabbed Battista by the hand and fled. On the street, she ran into her spiritual adviser Don Andrew who told her she was choosing the wrong way and ordered her to trust God. Slowly she turned around and made her way to Capitol Hill where Count Troja was waiting. As she and Battista walked the streets, crowds of people tried to block her way or grab Battista from her to save him. After giving him up, Frances ran to a church to weep and pray.
As soon as she left, Troja had put Battista on a soldier's horse -- but every horse they tried refused to move. Finally the governor gave in to God's wishes. Frances was still kneeling before the altar when she felt Battista's little arms around her.
But the troubles were not over. Frances was left alone against the attackers when she sent Lorenzo out of Rome to avoid capture. Drunken invaders broke into her house, tortured and killed the servants, demolished the palace, literally tore it apart and smashed everything. And this time God did not intervene -- Battista was taken to Naples. Yet this kidnapping probably saved Battista's life because soon a plague hit -- a plague that took the lives of many including Frances' nine-year-old son Evangelista.
At this point, her house in ruins, her husband gone, one son dead, one son a hostage, she could have given up. She looked around, cleared out the wreckage of the house and turned it into a makeshift hospital and a shelter for the homeless.
One year after his death Evangelista came to her in a vision and told her that Agnes was going to die too. In return God was granting her a special grace by sending an archangel to be her guardian angel for the rest of her life. She would always been able to see him. A constant companion and spiritual adviser, he once commanded her to stop her severe penances (eating only bread and water and wearing a hair shirt). "You should understand by now, " the angel told her, "that the God who made your body and gave it to your soul as a servant never intended that the spirit should ruin the flesh and return it to him despoiled. "
Finally the wars were over and Battista and her husband returned home. But though her son came back a charming young man her husband returned broken in mind and body. Probably the hardest work of healing Frances had to do in her life was to restore Lorenzo back to his old self.
When Battista married a pretty young woman named Mabilia Frances expected to find someone to share in the management of the household. But Mabilia wanted none of it. She was as opposite of Frances and Frances had been of her mother-in- law. Mabilia wanted to party and ridiculed Frances in public for her shabby green dress, her habits, and her standards. One day in the middle of yelling at her, Mabilia suddenly turned pale and fainted, crying, "Oh my pride, my dreadful pride. " Frances nursed her back to health and healed their differences as well. A converted Mabilia did her best to imitate Frances after that.
With Lorenzo's support and respect, Frances started a lay order of women attached to the Benedictines called the Oblates of Mary. The women lived in the world but pledged to offer themselves to God and serve the poor. Eventually they bought a house where the widowed members could live in community.
Frances nursed Lorenzo until he died. His last words to her were, "I feel as if my whole life has been one beautiful dream of purest happiness. God has given me so much in your love. " After his death, Frances moved into the house with the other Oblates and was made superior. At 52 she had the life she dreamed of when she was eleven. She had been right in discerning her original vocation -- she just had the timing wrong. God had had other plans for her in between.
Frances died four years later. Her last words were "The angel has finished his task -- he beckons me to follow him. "
In Her Footsteps: Do you have a spiritual friend who helps you on your journey, someone to pray with and serve with? If you don't have one now, ask God to send you such a companion. Then look around you. This friend, like Frances' Vannozza, may be near you already. Try sharing some of your spiritual hopes and desires with those closest to you. You may be surprised at their reaction. (But don't force your opinions on others or get discouraged by lack of interest. Just keep asking God to lead you. )
Prayer: Saint Frances of Rome, help us to see the difference between what we want to do and what God wants us to do. Help us to discern what comes from our will and what comes from God's desire. Amen.
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Frances of Rome (1384–1440), Italian Catholic saint and founder of the Olivetan Oblates of Mary
Frances Xavier Cabrini (1850-1917) Italian-American Catholic saint and founder of the Missionary Sisters of the Sacred Heart of Jesus
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Release date: Feb 28, 2020
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Flailing thirty-four-year-old Bridget (Kelly O'Sullivan) finally catches a break when she meets a nice guy and lands a much-needed job nannying six-year-old Frances (played by a scene-stealing Ramona Edith-Williams). But an unwanted pregnancy introduces an unexpected complication. To make matters worse, she clashes with the obstinate Frances and struggles to navigate a growing tension between Frances's moms. Amidst her tempestuous personal relationships, a reluctant friendship with Frances emerges, and Bridget contends with the inevitable joys and shit-shows of becoming a part of someone else's family.
Rating:
NR
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In Theaters:
Feb 28, 2020
limited
Runtime:
98 minutes
Studio:
Oscilloscope Laboratories
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