One Life

Hanky, please, for the humanitarian the U.K. press dubbed the “British Schindler.”

A less-than-extraordinary film that is nevertheless heartwarming.

“One Life” is a slow burn, slowly establishing Winton’s modest character as a younger and older man, but when it cracks open, it is a deeply moving portrait of true human goodness.

As we continue to grapple with today’s issues of war, refugee crisis and growing antisemitism, the film’s relevance is so troubling that you cannot fail to be moved by it.

The emotional payoff takes a while to arrive, but once it does in the last act of this film, you’ll have a hard time forgetting Hopkins’ face.

In trying to capture this almost stoic modesty, the film, directed by James Hawes, falls into a dramaturgical trap.

While the attempt to relate this story to contemporary issues by focusing on their status as refugees is admirable, it seems too simplistic and even unnecessary.

For filmmaking to portray the barbarism of fascism in all its aspects therefore retains its burning relevance and necessity.

Hopkins’ thoughtful artistry, coupled with Hawes’ technical proficiency, renders One Life a thoughtful and memorable drama.

The script does not give Hopkins many lines to talk about his actions, yet he moves us with the mastery of his performance. [Full review in Spanish]