Les Temps morts

When Daisy Lamothe met him for the first time, Paul no longer felt in his rightful place as a monk. He had left his robes behind, without any idea of what his future would hold. Two years passed. Then Daisy Lamothe returned, with a cinematographer and sound engineer. Paul was still there, lavishing his unchanging benevolent sign on passing motorists along the road bordering the monastery. The film records his testimony and accompanies him in this disinterested denouement, making this pace – to the rhythm of long, snow-filled tracking shots and cleverly composed frames – the guiding hand of a contemplative staging of breathtaking beauty.