Marguerite (2017) is a tender piece that has the patience and reality of European cinema. Farley has managed to give viewers a story with delicate power and a universal theme.

The story could move anyone just on paper, a plot that focuses on a nurse (Rachel) and the one she cares for (Marguerite). Their time together follows routine, after Rachel’s same-sex relationship is revealed it manages to pick at Marguerite’s internal scab and wakes an almost forgotten longing for what was, for a long time, a forbidden love.

The piece reflects on longing, love and the buried giants in us all. Marguerite’s longing is awakened for good reason and handled with the healing hands of not only a nurse but a woman that was able to cross the bridge she never had the freedom to.

Though in Marguerite’s time such desires for the same sex weren’t permitted, that isn’t to say Rachel’s is entirely either. With hate crime towards the LGBT community spreading, this short piece speaks of the restrictions and attitudes pushed onto others in society which ultimately feels as though there is an unwritten law for how one should live their life.

The piece starts and ends in the same way: with a physical act of care, though the end is packed with a trembling kind of heart and connection, whereas the start seems routine, and a repetition of the days before.

The level of intelligence and care Farley has put into this work is admirable and similar to that of a potter with the vision in mind and the hands firm and controlled with every bit of trust in what’s coming out of the process.

Although Farley holds the hammer to hit the nail, the power of its impact lies in the performances from both Béatrice Picard and Sandrine Bisson, who have made sure the final moments have a shuddering effect. Béatrice – a well-versed actress alongside Sandrine was the perfect duo to create not just a piece like Marguerite but also a closing scene that managed to move the crew as well as the viewers.

Marguerite is a timeless piece thats knockout blow comes from a kiss rather than a punch, a kiss that every viewer will feel and appreciate, just like Marguerite. This piece is an incredible achievement and gives proof as to what kind of power can be within the short film.

Dir: Marianne Farley

Prd: Marie-Hélène Panisset & Charlotte Beaudoin-Poisson

Scr: Marianne Farley

DOP: Marc Simpson-Threlford

Music: Julien Knafo

Country: France

Runtime: 30 mins