Like Bertrand Tavernier’s current “Beatrice,” Suzanne Schiffman’s “Sorceress” is set in France in the Middle Ages, yet its soul is in the Enlightenment. It is an illustration about the conflict between a devoted healer and a committed follower of apostates, about whether God likes to tend man’s body or scourge his spirit.
The exhibitions are superior to the lines. Mr. Karyo’s Etienne shows himself to be substantially more than a stock inquisitor, as his devotion is subdued by the confirmation of Elda’s trustworthiness and information and his developing sensitivity for the townspeople’s inconveniences. Miss Boisson figures out how to make Elda imploringly free in spite of the weight of being correct constantly. The script is not inconspicuous. At the point when the accomplished Etienne says, ”I can learn nothing here,” Elda answers, ”I learn something here consistently.”