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Sarah's Key

Review by Anthony Morris

sarah's key

Sarah's Key

sarah's key

For a while early on it looks like Sarah's Key just might be that rarest of things : a holocaust film with something new to say. 

Jumping between present-day Paris and the (initially) 1942 version, we follow two women in crisis.

In 1942 10 year-old Sarah (Melusine Mayance) and her Jewish parents are rounded up and herded into the Velodrome d’Hiver, while today expat American journalist Julia (Kristen Scott-Thomas) is writing a story about what happened, only to discover the consequences linger to this day. 

Of the two stories, Sarah's is the more obviously dramatic : when the police arrived she locked her little brother in a cupboard, and so she’s desperately trying to get back to him, first while they're at the Velodrome then later when they're in a camp waiting to be shipped off to Germany and beyond. 

Julia's is the more complex, especially when it turns out that her French family's flat was the one Sarah's family were thrown out of, but it doesn’t resonate the way it’s clearly meant to. 

It's meant to show that the shadow of the past is all around us; instead it just feels like she’s a nosey journalist happy to dredge up other people’s dramas out of nothing more than a blind desire to know. 

A meandering story that constantly changes tack doesn’t help the lack of focus.

Sarah's story plays out long after the situation with her brother is resolved, then it becomes her descendant’s problem, then Sarah's wider family have their own dramas which simply don't work (not telling an elderly relative is supposedly  the whole reason for the family’s secrecy; later we’re told she’s found out, but it’s never explained how). 

The story of the Velodrome, where families were kept in appalling conditions for days while Paris ignored them, is a compelling one; for that alone Sarah’s Key is worth a look.

3 out of 5



Sarah's Key
Australian release: 26th December, 2010
Official Site: Sarah's Key
Cast: Kristin Scott Thomas, Mélusine Mayance, Frédéric Pierrot, Niels Arestrup
Director: Gilles Paquet-Brenner



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