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by Cláudio Alves
When talking about the four French Oscar finalists, one point of the quartet felt perpetually overlooked. Much was said about Emilia Pérez, the eventual selection, and plenty of discussion on All We Imagine as Light, its international provenance and potential as an unlikely Indian or Luxembourgian submission. Then, of course, there was the big-budget wannabee blockbuster of the lot, a new Count of Monte Cristo adaptation that secured US distribution and announced a fortuitous late-year release date hours before Audiard's musical stole its thunder. In the middle of all this commotion, Alain Guiraudie's Misericordia slipped by unnoticed. A shame, since it's one of the year's most beguiling films…
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