_L'Apparition_ possesses many elements that could have resulted in a compelling film, particularly the potential for insightful commentary on faith and institutions. However, despite an intriguing premise, the execution falls short, and basic missteps diminish any possibility of genuine depth, leaving the narrative surprisingly unengaging. Written and directed by Xavier Giannoli (_Marguerite_), with Marcia Romano (_Sous le Sable_; _Marguerite_) and Jacques Fieschi (_Un Cœur en hiver_; _Yves Saint Laurent_; _Mal de pierres_) contributing to the script, the initial setup effectively draws in the audience. Jacques Mayano (Vincent Lindon), a French photographer returning from a war zone where his colleague died, struggles with hearing problems and PTSD. He’s then contacted by the Vatican's Congregation for the Causes of Saints, tasked with investigating claims of miracles leading to possible canonization. A young girl named Anna (Galatéa Bellugi) insists she witnessed an apparition in a small village, but the local priest, Fr. Borrodine (Patrick d'Assumçao), has broken ties with the Church and is exploiting Anna’s claim for financial gain through a tacky gift shop. The Congregation wants Mayano to lead an investigation. Initially, things seem promising. Giannoli depicts Mayano learning about the Congregation’s procedures, examining Vatican archives detailing both confirmed and rejected miracles, traveling to the village, and meeting his team. However, once the actual investigation begins, the film loses its direction. The movie feels unnecessarily long at 144 minutes; a significant portion could have been cut without harming the core story. It resembles a workprint, with excessive length and a lack of editing rhythm within scenes that often continue beyond their logical conclusion. Numerous underdeveloped subplots—Mayano’s PTSD, orphans, adoption, mysterious letters, a missing girl, potential fraud—never connect to the main narrative. Consequently, both Mayano and Anna remain thinly drawn characters; Mayano embodies an archetypal "skeptical photographer," and Anna is essentially a blank slate. A fundamental flaw lies in the film’s inability to commit to a clear purpose – whether it should be an examination of religious doctrine or a straightforward mystery. This indecision results in a shaky plot where surface-level elements overshadow any meaningful substance. The film culminates with an abrupt, poorly conceived twist involving a previously unseen character, feeling disconnected from the preceding two hours. Given the subject matter's potential for critique, Giannoli misses a valuable opportunity to explore relevant issues such as the nature of apparitions, the Church’s response to unexplainable phenomena, and its methods for investigating claims. These themes are entirely overlooked, leaving the film saying very little of interest about anything. Giannoli himself stated in promotional materials that Mayano had “come across a world where proof counts for nothing.” However, this statement contradicts the film's central focus on seeking that proof. He also described the film as "a thorough documentary investigation into the supposed proof of the existence of God," which is not reflected in the final product. Comparisons to films like Jessica Hausner’s _Lourdes_ (2009) and Dietrich Brüggemann's _Kreuzweg_ (2014) highlight what _L'Apparition_ lacks. *Lourdes* examines themes of faith, healing, and the Church as a business, while *Kreuzweg* explores religious fundamentalism and obsession. In contrast, _L'Apparition_ presents serious actors in serious situations but ultimately fails to offer any significant insights or commentary, concluding with an ill-conceived twist that undermines its thematic concerns.

Source on TMDB