The second part to Claude Berri’s Jean de Florette, Manon of the Spring is a sweeping poetic expansion of themes and motifs. If the first chapter of the story is perfectly internal, Manon of the Spring lifts the scenes for fuller Tragicomic expression, by utilizing the framing as a form of poetic expression.

Now the ideas can coalesce together and create this harmonious unison on the screen. It reaches directly into Jean de Florette, reflects its early scenes, and they must be watched together to achieve the full effect. It is absolutely stunning.

This second part, although they are together one continuous thought, capitalizes fully on the characters and this situation of irrigation control and the curse of the gods. It expands the characters and unites the story under one sweeping brush, that ties the characters back to the land, and places the story concretely in this space, a full exploration of the ideas put forth in the first movie.

It’s stunning and resonant: it’s also just so compelling. Just give in and enjoy the pair together, they are really a gorgeous achievement in cinema taken that way. And formally, they combine to create a fascinating structure, and another way movies can be designed.