It’s a no-brainer that health is one of the most essential elements everyone needs to take care of. The recent pandemic that affected the world was almost a wake-up call for many to care for their health. Most diseases do not spare a second to rip apart a person, no matter the time or place. Waiting for a disease to leave the human body is a tedious process. However, some diseases would prefer just to stay intact forever. In Emily Atef’s “More than Ever” (2022), Hélène lives in a delicate reality of being in survival mode near the end of life while facing the remaining days without assurance. Audiences are virtually exposed to the uncomfortable state of understanding pain via Hélène’s inner struggle and endurance.
The conflict between the need to live and the reality of the agonizing effects of the sickness is brought to life through the excellent performance of Vicky Krieps. It is noted that Krieps’ performance in this film is almost as powerful as the 2022 film “Corsage,” which won her the best performance award in the same year at the Cannes Film Festival. This film also reminds me of ‘The Fault in Our Stars’ by Josh Boone without the sappy teenage drama. Also, specific segments involving the emotive breakdown of Hélène follow a similar approach to the Norwegian film “Hope” by Maria Sødahl. Nevertheless, the journey of discovering the meaning of life while waiting for death mostly constitutes the central point that the film aims to share.
Speaking of death, the late Gaspard Ulliel takes up the role of Hélène’s husband, Matthieu, in this film. Witnessing him in his final performance as a supportive pillar for a soul in pain is saddening. “The living doesn’t know about the dying” phrase uttered in “More Than Ever” makes sense mostly through the actions and responses given by Matthieu towards Hélène at epochs of decision-making. He is in a muddled state himself, often wanting to help and offer himself for the betterment of Hélène, but gets confused with the decisions she makes. Yet, Matthieu tries to add his views whenever he has to without a pause to make sure Hélène stays on the right track. Here, the lengths that one would go to make sure their loved one is taken care of is seen through a sublime screenplay by Atef.
Director Atef also opens up a portal for interpreting the minds of two individuals with different mindsets when it comes to fulfilling personal needs. At one end, we witness a person who wants to live her life to her fullest by endeavoring everything that Hélène has missed so far. On the other hand, the director also showcases the mind of a person who wants to go through all ends to ensure Matthieu’s loved one stays alive longer than the given time. The contradicting wavelength between the couples causes a stir in decision-making and opinions. Sacrifices and patience become part and parcel of their relationship along the way.
Another aspect highlighted in the film is that being practical doesn’t always work in every decision-making process. It is as if the director wants us to believe that some decisions may appear to be wrong in judgment, but it is vital to overcome certain boundaries. Hélène knows that getting through the challenging phase of life can disrupt her inner peace and wants a way to be away from it. Therefore, Hélène makes abrupt decisions that assure her to feel better. For instance, the mystery unfolds when Hélène decides to stay in Norway with an extremely ill man named Mister, whom she met online through a blog.
Here, there is a tendency for viewers to have differences in opinion based on the context of her decision. Questions like “Why would Hélène leave a loving husband to stay with a stranger?” or “What is the motive behind a decision that might affect Matthieu’s inner feelings?” might emerge. However, it creates a mode of networking among the ones who would understand pain the most, with the inclusion of discovering more about a person’s self-realization. What’s more, when Mister becomes an important presence in the narrative, he fills the gap between the couples.
The exhilarating view of the landscapes in Norway is captured beautifully by the cinematographer Yves Cape. The view of the mountains in the proximity of Mister’s home would feel comforting even to the eyes of the viewers. Moreover, the moving images of a blue sea wave are also shown periodically as a hidden metaphor. Here, the healing journey of Hélène is reflected in the tranquility of the ocean blue color. A scene where Hélène dives into the sea and instantly connects with the aura of the water is shown gracefully through her smile.
Despite occasionally being tedious due to the slow dialogue delivery, “More Than Ever” has more to offer than just the journey of a dying individual. It dives into the connection of love that could withstand any hurdles of suffering. Director Atef silently exposes the universal truth that love can be the ultimate remedy for any form of pain. On that note, all you gotta do is to get through your hurdles your own way.
![Still Walking [2008]: Hirokazu Kore-eda’s Elegiac Masterpiece](https://www.highonfilms.com/wp-content/uploads/2017/06/aruitemo-768x396.jpg)
![The Perfect Candidate [2021] Review: A wavering film about a woman who stood for office](https://www.highonfilms.com/wp-content/uploads/2021/06/The-Perfect-Candidate-3-highonfilms-768x461.jpg)
