The director also subtly layers in references to this process in the world around Sandra, especially in a scene where she translates for American World War II vets at a D-Day memorial event, with some of the veterans disabled from the injuries they sustained decades prior on that horrific day. The grace that Hansen-Løve extends toward this process is astonishing for the way that she simply regards it as an inevitable fact of life, a transition that is as rewarding as it is emotionally taxing. With “One Fine Morning,” Hansen-Løve turns her attention, and ours, toward the challenges, both tiny and immense, of loving someone through a decline such as this - one that’s not a death, just yet, but rather a disabling event, an experience that is as perplexing for Georg as it is for his family and former students. The saying “it takes a village” most often applies to the upbringing of babies and young children, but in “One Fine Morning,” it applies to Georg at the end of his life, and the army of women who help to usher him through it, including Sandra and her sister, ex-wife Françoise (Nicole Garcia, “Mon Oncle d’Amerique”), and companion Leila, not to mention the many nurses at the various nursing homes where his family attempts to find him an appropriate place for full-time care. 29 of Cannes’ Hottest Directors, From Park Chan-Wook to Mia Hansen-Love (Exclusive Photos)
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