Thérèse is a film about the life of Saint Thérèse of Lisieux. It was first released in 1986, and directed by Alain Cavalier. Synopsis Like two of her older sisters before her, Thérèse Martin is determined to become a Carmelite nun, even though she is officially too young to enter the order. Thérèse's stubborn piety wins through, and her love affair with Jesus transfigures her short life. Alain Cavalier's account of Thérèse's joy in her vocation is based on her spiritual autobiography, The Story of a Soul. Critical responses The film was first shown on British television in 1987 on a nun-themed film evening, with Black Narcissus, and was introduced by Marina Warner. "I think Thérèse is a rare and beautiful film... No film has ever before transmitted so involvingly the bliss the mystics describe of communion with God, the intense pleasure a saint like Thérèse felt at her intimacy with Jesus, the deprivation she experienced when He seemed to be absent, and the comfort and affection of young women sequestered together... Cavalier's visual style, the film's restrained spectrum, its dove greys, bistres, waxy whites, recall the quiet images Gwen John painted in Normandy of nuns reading, praying... Cavalier scans the properties of convent life... He has learned from Robert Bresson how to linger on an image, how to give symbolic intensity to humdrum objects, by isolating them in the frame, and gentle repetition." In The New Yorker the critic Pauline Kael wrote that, "Watching Thérèse is like looking at a book of photographs of respectfully staged tableaux, and not being allowed to flip the pages at your own speed. You have to sit there, while Cavalier turns them for you, evenly, monotonously, allowing their full morbid beauty to sink in. You're trapped inside his glass bubble." The academic Mary Bryant called the film, "by far the most effective and challenging rendering of the Thérèse-event in the decade leading up to Thérèse's centenary year in 1997." "Alain Cavalier was careful at pre-production stage to immerse himself not only in data, but also in visual and atmospheric detail. His film is a beautifully lit evocation of the stylised poverty of Carmel, which is like that which we now associate with Shaker furniture and interiors. Although Cavalier did visit the Lisieux Carmel, and spoke to the sisters there, the film was not shot on location there, and makes no attempt to reproduce