Felix and Meira (2014) User Reviews

Subdued Romance

[Hint523 · 7/10 · 17 April 2015]

Felix and Meria begins with a traditional Hasidic Jewish dinner: singing, celebration and religious clothing. Everyone seems comfortable except for Meria, our protagonist, and immediately through visuals we sense that something does not sit well with her. Thus begins the major conflict of the film as Meria debates internally her commitment to tradition.

Because of the timeless nature of this culture, at the beginning it is deliberately unclear what time period the film takes place in. Meria is scolded by her extremely traditional husband for playing LP records, indicating the film is a period piece. Yet as the film goes on and Meria slowly ventures outside of her Hasidic bubble, we realize that the film does in fact take place in present day, yet we discover it through her eyes and slowly it becomes more modern. The visual palette (like a love child of last year's Ida and A Most Violent Year) distinctly drives Meria's journey. This makes the modern world look in a distinct way unlike anything I have ever seen in a movie.

While focusing on Meria and her doubts in her beliefs, it quick develops into a love story. Despite being married and living among the traditional culture, Meria falls for Felix, a bachelor without the same family values. This isn't the adulterous kind of romance - everything is subdued, making even holding hands feel like a display of passion. The suspense remains because of how forbidden the relationship is in the first place, and thanks to top-tier performances and direction, the relationship between protagonists never feels inauthentic.

The dramatic sequences scattered throughout the film significantly outweigh the overall narrative. The symbols are rich without being overt. As said above, this is a movie full of subtlety that matches the emotional tone of the characters. The only not subtle moment happens right after Felix and Meria first spend time together, when the film transitions to an isolated clip seemingly unrelated yet emotionally moving. I would have been happy to see more of these, but alas because it only happened once it draws more power to itself.

As stated above the primary conflict of the film is tradition vs. love, which is incredibly powerful yet not as universal in today's world. Unfortunately, Meria's husband is reduced to being a caricature and not given enough complexity as a character. Had he been more layered, it would increase the stakes in how difficult it would be for Meria to decide to stray away from him. Regardless, this is the romantic drama that people should yearn for. Most romance audience prefer the more saccharine Nicholas Sparks adaptations, but could truly enjoy seeing something much more subtle and powerful as seen in Felix and Meria.

The Power of Culture

[nbb100 · 8/10 · 7 April 2015]

This film is about the explicit values of two adjacent cultures who live on different sides of a railroad, each reaching for something more … the unknown. For Felix and Meira, the unknown becomes uncertainty. Life and lifestyles are disrupted, communities clash, and traditions unsaddled.

This isn't a story of skinheads, hippies, Trekkies, or of Generations X, Y, or Zeds. It is of a girl called Meira and French Felix, each who adopt their known cultural traits. Her identity is repressed, arrested by secret Hasidic customs and protocol where women are quieted and obedient. Apparently of the Satmar tribe, women wear wigs and are in arranged marriages. Felix flits in and out of his family, daring to explore the matrix of love. Meira too openly resists the known in favour of love, romantic love. However, romantic love is not reality.

Viewers experience subconscious moments acknowledging resistance to our ostensibly defined lives. Each of us wanting to explore outside known cultural norms. Some may call it slow moving, I call it pace. We aren't rushed through every scene, but given permission to decode the mysteries of the Hasidim. What is uncovered, I cannot tell. What is revealed, is how the unknown can be even more uncertain than what we know.

The stillness of romance, religion, grief and loneliness

[ferguson-6 · 7/10 · 21 May 2015]

Greetings again from the darkness. This movie is filled with quiet and stillness. Maybe moreso than any movie I can recall. With a backdrop of Montreal, New York and Venice, and a theme of forbidden love and self-discovery, the quiet of the actors belie the undercurrent of emotion driving the three leads.

Meira (Hadas Yaron) is a Hasidic Jew living with her husband Shulem (Luzer Twersky) and their toddler daughter within an Orthodox community where women are forbidden from listening to "outside" music, creating art, or even looking men directly in the eye. Their mission in life is to serve their husband, have lots of babies, and respect the religion. While many women in the community seem fine with their lot, Meira hides records under the sofa, draws pictures in a pocket-sized notebook, and longs for the excitement and color of the real world.

One day, by happenstance, the paths of Meira and Felix (Martin Dubreuil) cross in a neighborhood corner store. He compliments her on her drawing, as she tries to ignore him. By the time they next meet, we have witnessed the painful bedside farewell of Felix to his dying father. It's difficult to tell which is the stronger emotion here – guilt or grief.

Soon enough Felix and Meira are finding ways to meet, but there is no crazed display of passion between the two. There is a devastating scene as Felix patiently waits while Meira musters the courage to actually look into his eyes. It's like 50 Shades of Restraint. It turns out, for different reasons, these two lost souls share a common bond of loneliness. Meira's individuality and creativity are stifled by religious oppression, while Felix is coming to grips as the black sheep of a family that no longer exists. When Felix says of his father, "He hated me to death. And then he died.", we understand it's the missed opportunity that weighs on him more than the passing of a long-lost parent.

Music plays a vital role in how director Maxine Giroux presents the characters and the story. Wendy Rene's "After Laughter Comes the Tears" is used beautifully, as is Leonard Cohen's "Famous Blue Raincoat". Heck, even a mousetrap becomes music to the desperate ears of Meira. As stated before, the film is incredibly quiet, and I challenge any movie lover to come up with a more painful argument than the one featuring Meira and Shulem whispering at each other from separate beds, or a more powerful scene with fewer spoken words than Shulem and Felix at the kitchen table. On the bright side, watching her walk around in her first ever pair of jeans is a freeing sight to behold.

Mr. Giroux presents something very real, yet outside the bounds of what cinema usually brings when forbidden love, religion, loneliness and grief are involved. Ms. Yaron delivers an astounding performance, and it's little wonder this has been such a hit on the festival circuit.

Venice the city of lost souls

[jakob13 · 10 January 2016]

Maxime Giroux's 'Felix and Meira' tone is set from the very first frame, captured in black and white. Malka or Meira plays with her soup with a soup spoon, a Shabbos meal. Her husband with finely curled ear locks, wearing a black hat trimmed in sable, and wearing a long black silk coat celebrates the Sabbath with gusto, in song and food and the pouring of wine. Meira feels estranged from this world of ultra Orthodox Jews, living in Montreal. A community that keeps very much to itself; insulated religiously in a world of Yiddish and Hebrew, prayers and rituals. A world in which husband and wife sleep in separate beds, according to tradition; coitus takes place only during days of ovulation; menstruation renders her impure, a ritual bath cleanses her. Malka wears a wig, long garments, She has but one duty to bear her husband many children. She doesn't; after the birth of her daughter she takes up pen and notebook to draw; she has a certain talent. She likes music which her husband forbids. She's listless and wanders aimlessly in her mind. In secret, she takes birth control tablets, for she doesn't want more children. And into her universe comes a secular man, an artist of sorts, a lost soul who feels empty because a strict father has never shown him love or interest since he didn't follow in the man's footsteps, it's inferred. So Felix travels and is now back in his own flat in Montreal, perhaps in Westmount, a Jewish enclave of Anglophone Jews. And as the narrative develops these two souls collide and a desperate, quite love arises between them. Too, late Meira's husband declares his love for her, but she is beyond his pleas for she has left an tradition from which she cut herself off and can never return. (Woody Allen treats the theme but without tragedy in 'Fading Gigolo', and Boaz Yakin treated seriously in the 1998 film 'A Price Above Rubies', with more or less the same outcome as Giroux's film.) The closing scenes are shot in Venice, on a grey day. A in an aside, Meira wishes regrets she has taken her daughter out of structured community, for life with her and Felix. Felix stolidly stares into the mournful cast of Venetian light. The pairing will never be happy, but, it is suggested, that in desperation they will cling to each other.

one woman, two worlds

[dromasca · 7/10 · 27 July 2019]

The theme of the movie 'Felix & Meira' made in 2014 by the Quebecois film director Maxime Giroux may seem unusual to most of the audiences, but it is in fact one of the main themes of Jewish literature and cinema. The world of ultra-Orthodox religious Jews has its own system of strict and stricter values and rules that guide them in all areas of life, from the way they dress and eat, to family relationships and the way they interact within the community and with the surrounding world. Although politically liberated and having gained equal rights in many parts of the world since the mid-19th century, ultra-religious Jews have refused to accept religious and cultural assimilation, which they consider to be a great danger and have built around themselves and their communities invisible walls even in the most liberal countries like Canada or the United States, or perhaps, especially in these countries. Stories and films related to the relationship between religious and non-religious Jews, between Jews and non-Jews, are topics in Shalom Aleichem's or Isaac Bashevis Singer's books, in musicals such as 'Fiddler on the Roof' and in many recent films or television series, mostly made in Israel, but not always, as in the case of this film.

At first glance, 'Felix & Meira' could be another movie describing a romantic triangle. Meira or Malka (who means 'queen', the name she uses in the Jewish world) is married, perhaps in an arranged marriage, she has a little girl about a year old, and she is unhappy. Her husband belongs to one of the most strict sects of religious Judaism, and forbids her the most trivial joys, such as listening to music or showing colorful drawings to her little girl. Felix returns to the neighborhood populated by many Jews, not necessarily religious, in Montreal, to bid farewell to his dying father. They both go through personal crises, both are very lonely. Meira is fascinated by the outside world, which she probably never knew. Felix is a nonreligious Jew, disoriented by his father's death, but perhaps also lacking solid landmarks and a purpose in life. The idyll born between the two is described with gentleness and with minimal cinematic means, blessed by the acting of the beautiful Hadas Yaron and of her partner on screen, Martin Dubreuil. The scenes in Manhattan whith Meira discovering the fascinating colors and sounds of the metropolis and the way they get closer one to the other are among the best romantic scenes I have seen lately.

Minimalism is the main quality but also the defect of the film in my opinion. The world of ultra-religious Jews is described simplistically, being reduced to interdictions and without reference to the context in which they appeared or to the values that they defend. Perhaps this is not a problem for those who know this world, but it can be very confusing for other viewers. This is after all a Canadian film with an international audience. The character of Meira is well-outlined psychologically and its development is natural, but the two men are sketched too briefly, reduced to the typological categories to which they belong (the agnostic Jew vs. the ultra-religious one). Towards the end, in a scene that brings the two men together, we understand that the husband loves and will always love Meira / Malka. Of the two love stories of Meira, perhaps this is the true one. The problem is that nothing has psychologically or cinematically prepared the spectators for this revelation. I did not like the completely open end either, I felt it was not sufficiently supported by the psychology of the characters. We can read here that the big and uncertain world is more dangerous for those who are not prepared for it, but I'm not sure that this was the intention of the author. 'Felix & Meira' deserves to be seen for many of its beautiful moments, but viewers should be prepared to be somewhat confused or dissatisfied at the end.

Slow, small budget

[sergelamarche · 6/10 · 12 January 2022]

The story makes sense and is slowly unraveling in a way for us to gather the feelings. A bit like real life can be slow. Real life slow feels less slow than films though. But the films goes its way and we finally arrive somewhere slow and boring but a notch more free. Praise the lord!

"Who says I'm not dead already?"

[paul-allaer · 9/10 · 25 May 2015]

"Felix and Meira" (2014 release from Canada; 195 min.) brings the story of the two title characters. As the movie opens, we see Meira serving dinner to a group of Hasadic Jewish couples. Not a word is said during dinner, and you can immediately sense a sadness within Meira. It's only later that we understand she is bored and frustrated and suffocating under the tight-knit rules of the Hasadic Jewish community. Then we get to know Felix, a secular Jew whose father is dying. The two were not close but it still affects Felix significantly. One day, Felix runs into Meira and her 3 yr. old baby girl at the local coffee shop. He tries to strike up a conversation but she rejects him. Later on, though, it becomes clear that something is brewing between Felix and Meira. At this point we're at most 15-20 min. into the movie but to tell you more would spoil your viewing experience. You'll just have to see for yourself how it all plays out.

Couple of comments: this is the third full-length feature from Canadian writer-director Maxime Giroux. This time he tackles a story line that plays out on the closed community that is the Hasadic Jewish Community. The 2012 "Fill The Voice" film explored similar themes as to the isolated Hasadic Jewish community, but here Giroux decides to make it even more personal by focusing on Meira and her conflicted feelings as to her overall life. In the beginning of the movie, Meira 'plays dead' to tease her husband. Much later on, when her husband asks why she doesn't do that anymore, Meira wistfully replies "Who says I'm not dead already?", wow. (And her husband's response to that? "When will you finally understand that this is our life? Pull yourself together!") It should be noted that, even though the closeness/isolationism of the Hasadic Jewish community can be an easy target for criticism, the movie treats them at all times with a great amount of respect. The acting performances are top-notch all the way, in fact I was wondering whether the Hasadic Jews were portrayed by actors or by real Hasadic Jews. Hadas Yaron as Meira is outstanding (she also played the role of a Hasadic Jewish wife in "Fill the Void" by the way.) Compared to that, Martin Dubreuil as Felix has a harder time staying in the lime light. Last but not least, there is an outstanding clarinet-heavy musical score (composed to Olivier Alary), and even fellow Canadian Leonard Cohen contributes a tune ("Famous Blue Raincoat"). Bottom line: this is a slow-moving (in the best possible way) family drama set within the Hasadic Jewish community that caught my attention from start to finish.

"Felix and Meira" opened without any pre-release fanfare or advertising at my local art-house theater here in Cincinnati this Memorial Day weekend. The matinée screening where I saw this at was very nicely attended, somewhat to my surprise to be honest (the audience was heavy on the seniors, I might add). If you are in the mood for a top-notch quality foreign movie that is GALAXIES away from the latest Mad Max or Pitch Perfect, do yourself a favor and check this out, be it in the theater, or eventually on VDV/Blu-ray. "Felix and Meira" is HIGHLY RECOMMENDED!

A beautiful, layered, subtle love story

[Alberto-7 · 9/10 · 4 February 2015]

I was completely blown away by this unique film. It is a gentle, nuanced look at two people from very different communities who connect and fall in love. The young woman is from the Hassidic community in Montreal. She is questioning her life and the limitations imposed on her by her community. The man she meets is not from her community and at a crossroads in his life. While this premise might seem implausible, it is explored with subtlety and respect. I cannot forget to praise the terrific performances of the three main actors. Israeli actress Hadas Yaron is simply amazing as Meria, the young Hassidic woman who is stifling in her marriage and community. Martin Dubreuil is also very good as Felix who is in search of something but is not quite sure what. All he knows is that he is instantly attracted to the shy, reluctant young woman and he must try to connect with her in any way he can. The chemistry between the two is simply electric. The character of Meira's husband could have easily been portrayed as the clichéd overbearing, uncaring spouse. Instead, actor Luzer Twersky makes him a sympathetic character trapped by his own failings. He simply does not know how to deal with his wife's angst. There are some incredible moments of tenderness in this film (The first time Felix and Meira hold hands is understated but very powerful). Overall this is a beautiful layered love story that is full of hope and happiness. Love will always find a way. Not to be missed. Bravo Maxime Giroux for giving us such a beautiful film.

Uneven Romance with Vague Liberation Theme

[lavatch · 4/10 · 16 July 2017]

In the opening scene of "Félix & Meira," it is clear that the character Meira is just waiting for her moment of liberation from her repressed life in a Hasidic Jewish community in Quebec. One of the most famous plays of the 19th century is Ibsen's "A Doll's House," in which the character Nora Helmer similarly braces herself for the opportune moment to walk out on her stultifying home life.

But a major difference between Ibsen's writing and that of this film is in the ability for the audience to see the development of the protagonist, the evolution of her courage, and her moment-to-moment thought process in her life-changing decision. A shortcoming of "Félix & Meira" is the static nature of the film, even when the character makes the courageous decision to walk out on her husband and her community.

Similarly, the enigmatic Félix is also underdeveloped as a character. There is a startling moment when the rabbi husband of Meira reads a letter left to Félix by his recently deceased father. The father offers a heartfelt apology for the way he treated his son and adversely impacted his life. Yet it is never made clear in the film whether the letter has had even the slightest impact on Félix.

Much of the plotting of the film was clumsy with sudden changes from Quebec to Brookyn, where Félix adopts a truly bizarre disguise, and, later, to Venice, where Félix, Meira, and her child suddenly show up. Again, there was no arc of development of the characters. This is most apparent in a stunning moment when Félix touches Meira's hair, only to discover that it is wig. Yet Meira continues to wear the wig to the very end of the film.

It was easy to see why Meira would want to sever ties with her husband. At one point, she confesses to a friend that she is reluctant to bear "6, 10, or 14" children, as required by custom. The friend immediately reports the conversation to the husband, betraying Meira and making her life even more claustrophobic. In one of her early meetings with Félix, Meira confesses that "I'd like to know what it's like to be single." It is unfortunate that she never comes close to experiencing her wish.

A love story and culture clash that's not a love story or culture clash

[gizmomogwai · 8/10 · 5 February 2017]

Looking at Felix and Meira, you can definitely see why many moviegoers might walk away unimpressed by it. Many of them will miss what it's about, or why it exists. It is an understated film, but it says something, albeit softly. It's not exactly Romeo and Juliet, not exactly Clash of Civilizations. It's Felix and Meira.

The film tells the story of two people in Montreal, who inhabit the same neighbourhood but live in foreign worlds. That might not seem too novel a concept, but there are interesting specifics, as the secular Felix gets to know Meira, a Hassidic Jew- she can't look him in the eyes, can't choose to have only one child in her marriage. It's not an indictment of Judaism or even religion entirely- it's just about a woman who is unhappy with her life, and her liberation. Whether going into another relationship is the answer is another question. I'm not entirely sure what Felix and Meira saw in each other, except for intriguing differences in lifestyle. But it is an interesting parallel how we see at the end that Felix was also bullied to fit into his family, and interesting that Meira's husband sees how this is the case.

I'm not entirely sure what decade this film is supposed to take place in. It's sort of timeless, and while belonging to Montreal, may speak to anyone.

Pointless and contrived

[osloj · 4/10 · 31 March 2016]

Felix & Meira is the monotonous story of a dreary Meira, stuck in an Orthodox Judaism marriage. She meets the equally dreary Félix, who hasn't spoken to his father in ten years and appears magically at his deathbed. He scores some money at the inheritance, thanks to his equally dreary sister. One day he meets Meira and thus starts the dreary "love".

The premise itself is so absurd, yet the execution is even more unbelievable. Soon the husband finds out and pushes the Felix away, but he can't stop this "love". He follows her and yearns for her. Both of them are drudgingly boring people, so they attract like flies to raw meat.

One unintentionally hilarious scene has Felix in the garb dress of an Orthodox Jew, complete with a beard and curls. I guess the local magic shop has some great Jewish outfits and he can just walk into some Jewish Tabernacle without being noticed by the locals. I thought I was watching some spy flick.

The ending didn't clarify anything at all, and it was all so pointless and contrived.

Traditions as weakness and self-determination as strength

[ageyagey · 10/10 · 5 August 2017]

It is always good to be able to define yourself. Even if traditions contradict your mind. In this film I saw the case when traditions are evil that rules over weak people. ....and love is not a tradition, it is a decision, not possible without knowing yourself. I like enormously the film, three main actors played excellent. What impressed me a lot were two sequences: the first one - the conversation between а "tradition man" Luzer Twersky and а "non tradition man" Martin Dubreuil; and the second one - when a "tradition man" broke his tradition listening to the song "After Laughter "after his wife left him.