Laurence Leboeuf is playing the role of Keely, Quebec the victim of a kidnapping. The young woman is pregnant after a rape is found on a small island in Northern Ontario with Do, her jailer and guardian angel.
15 July 2020
Updated on July 17, 2020 at 4: 21
Catch and Release: for Laurence Leboeuf ***
CRITICAL / adaptation of a play to the screen always remains a risky business. Especially if it is a closed — achieving ends often fail to scale. Catch and Release is no exception, in spite of his empathy, a feminist, its anti-fundamentalism, pro-life dialogue and well-crafted. Fortunately, there are two performers, in particular, Laurence Leboeuf, to maintain our interest.
The actress plays the role of Keely, Quebec the victim of a kidnapping. The young woman is pregnant after a rape is found on a small island in Northern Ontario with Do (Nancy Palk), his jailer and guardian angel. She is held there against his will by a group of pro-life extremist who wants to prevent an abortion…
After this start-up nebula — we do not know the circumstances of the kidnapping, not more, than the actual intentions of the captors, the story borrows a schematic narrative fairly predictable.
Everything between the two women, at first sight. Keely, shiny, and voluntary, has the youth drooling and rebellious. Do, a reserved and pious, brandished his faith as armor. The first does not hesitate to point out the contradictions of the second. But they will soon realize that they have in common to be ripped off in life.
The taming will be progressive, even if Keely plays sometimes the provocation, especially with his body — a little to the Swimming Pool (2003) François Ozon.
But it is without counting on the menacing Robert, the brains of the operation, which regularly supplies by boat on this island where the duo lives totally confined…
Dominique Cardona and Laurie Colbert have started their career as a documentary filmmaker, activist (Thank God I’m a Lesbian, My Feminism) before venturing into the fiction, while remaining close to their favourite themes. The main protagonist of Finn’s Girl (2007) runs an abortion clinic.
The adaptation of the play by Jane Martin, which was nominated for a Pulitzer in 1994, fell under the direction, and the bias obvious. The pair even managed to give us a dose of sympathy to Do despite the rigid religious. However, they do little in the shade with Robert, a man worrying not only because of the rhetoric and dogma, but also his temperament and blood controlling.