Averroès and Rosa Parks: two units of the Esquirol Hospital, which - like the Adamant - are part of the Paris Central Psychiatric Group. From individual interviews to «carer-patient» meetings, the filmmaker focuses on showing a form of psychiatry that continually strives to make room for and rehabilitate the patients’ words. Little by little, each one eases open the door to their world. Within an increasingly worn-out health system, how can the forsaken be given a place among others.
On Mt Hutt, the stakes are as high as the altitude for the ski patrollers, medical teams and road response crew who brave high-pressure rescues amongst this picturesque holiday destination.
Things are busy at the Paris hospital where young psychiatrist Jamal and his colleagues work. The place is run down, the staff are exhausted, budgets are constantly being slashed. You know the story, but you’ve rarely seen it conveyed as engagingly as in ‘On the Edge’, which employs a handheld camera and meaningful, artistic interventions to observe the daily routine at the psychiatric ward. The deeply sympathetic Jamal is an everyday hero with an exemplary, humanistic disposition, for whom the most important prerequisites for mental health – and for a healthy society in general – are good relationships with other people. He puts his philosophy into practice by listening patiently, giving good advice and organising theatre exercises based on Molière. Realism and idealism, however, are in balance for the young doctor, at least as long as the institutional framework holds up.
Going to the doctor to make a diagnosis or to have a treatment is a common thing in the outside world. But for every prisoner it is a very difficult or impossible path. Lander Garro, the director, turns to those who have lived the experience of being ill in prison to better understand its consequences. It uses a language that goes beyond political discourse, exploring the helplessness of prisoners whose right to health is limited from an emotional point of view, through cinematographic tools. 'Tipularen sehaska kanta' ('Nana de la cebolla' - 'Lullaby of the onion') more than a political film is an artistic film, narrated in the first person and from the entrails. Based on the poem 'Nana de la cebolla' by the Spanish poet Miguel Hernández, who died in prison in 1942, the film makes a historical analogy: if it didn't make sense to die in prison in 1936, does it make sense today?
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