Film Review: “Des Hommes Et Des Dieux” (“Of Gods and Men”)

Directed by Xavier Beauvois
Starring Lambert Wilson, Michael Lonsdale, Oliver Rabourdin, Roschdy Zem, Sabrina Ouazani
Running time: 123 minutes

Imagine for a moment that you are a Christian monk. It may be difficult, I know, but indulge me for a moment. So, imagine you are a monk, and the community you live in is being threatened by terrorists. Your own life is being threatened by terrorists. The government and many of your fellow monks are pressuring you to leave. But you have made a commitment to serve the people of your community. Above that, you have made a commitment to God. What do you decide to do? Do you leave and spare your own life, or do you stay put and face your enemies head on?

Such questions are asked in Xavier Beauvois’ masterpiece “Of Gods and Men.” Much of what the film tries to accomplish, I think, is to examine how the characters in the film respond to these questions. In addition, viewers are provoked to ask themselves many of the same questions. Does one’s personal duty take priority? See the film and decide for yourself.

What makes this film so marvelous is how all of its elements are woven together to create a full, rich movie-going experience. The shots support the action in the film. The script entertains, informs, and provokes. The action builds suspense and carries the story. Powerful but quiet performances build emotional buy in to the film. In my mind, it would be quite difficult to punch a hole in this film.

The film begins with primarily long, smooth shots that reflect the daily life of the monks, the film’s main characters. Life in a monastery is slow-paced, filled with domestic duties and time spent in prayer and fellowship. When contrasted with a busy life in the city – where a filmmaker might chose to utilize shorter shots and a faster pace – the decision to let the shot composition work hand in hand with the actual experience of the characters is genius. Also, the actions portrayed in the shots establish daily life in the community. We see one monk serving patients in a clinic; we see another monk sowing seeds in the ground. We are led to feel as if we are a part of this community and we are involved in the daily events.

There are a few graphic murders witnessed by viewers in the film. Unlike many productions, however, in this case the violence is not excessive but instead necessary to the story. It is important to illustrate the deadly potential of the terrorists and the threat they pose to the monastery and surrounding community.

There is a powerful scene in the film when the monks must deal with their terrorist adversaries face to face. It is dark, and the monastery and surrounding community is silent. The monks are preparing to turn in for the night. Suddenly, the terrorists approach the doors of the monastery demanding medical supplies; their weapons are drawn. The monk’s leader, Christian (Wilson), demands that the radicals step outside the gate, and he persuades them to leave. The intensity in his face and the commanding power of his voice portray clearly how passionate and dedicated he is to serving the people of his community. He is able to defend his people and keep his adversaries at bay – for the time being.

As I mentioned, the primary ethical questions that arises in this film is whether, as a monk or as a normal human being, one is bound to his duties to fellow man or whether he should pursue his own personal safety. While many of the older members of the monastery see no reason to risk their lives, a local member of the community presents a telling metaphor: the members of the community rely on the monks like birds on a wire. If you take away the wire, you take away all stability and normality.

Another difficult ethical dilemma presented in the film is how we treat our adversaries. Christian is accused of sympathizing with the terrorists because he is willing to talk to them and shake their hand. Even in the way the film is shot, viewers are led to feel for the terrorists at times. For example, in the scene where the terrorists invade the community at night, the group’s leader has a small but almost tragic twinkle in his eye, and the desperation on his face speaks so loudly, even if he doesn’t say anything at all.

There are bits of humor infused into the story that are appreciated. After Christian gives a small sermon to the monks, one remarks to another in a sarcastic tone, “did you understand the message today?” The other monks response: “fuck you.” In addition, ironic comments like “hope [to survive the terrorists’ threats] doesn’t interest journalists” are appropriate and lighten the tone of the film.

In addition to adding humor, the script is excellent at developing each of the characters throughout the film. We see Christian’s struggles with leading the other monks. We understand one monk’s struggles with faith and seeing God in a fallen world. We empathize with a much older monk who is battling with his health. By the end, we feel invested in each character and we feel as if we know them individually.

Music also plays a very important part in the story. Throughout the film, scenes are inserted where we witness the monks worshiping together and singing traditional music. This builds a sense of community amongst the monastery and reminds us that in all of their struggles these men turn to each other and to God for guidance. Even amidst the turmoil of the film, we feel calmed by the music that these scenes provide.

The most remarkable aspects of this film can be found what it does not include. While the action may not always progress rapidly, the audience’s attention is never lost. In scenes that might feel the need to fill with dialogue, silence is much more powerful. In a situation where an outburst of emotion may seem appropriate, a single tear streaming down an individual’s face says so much more. Silence can be golden, and this film is a clear illustration of this concept.

Of the more than 25 films that I’ve seen this year at the Cannes Film Festival, this one ranks among my top three. It says so much more than most of the films I’ve seen by saying so much less.