Opening slowly and formally as waitresses set the canteen tables to the strains of a distant Ave Maria, LOURDES shows the pilgrims slowly entering the room to eat, some on wheelchairs, accompanied by officers and volunteers of the Order of Malta. (Around 1.5 million people visit the Marian shrine every year, many disabled, nearly all looking for a miracle). But wheelchair-bound Christine (Sylvie Testud), a rigid MS sufferer, is here "because it's the only way I get out", she confesses to young volunteer Maria (Lea Seydoux). They both notice Order of Malta officer Kuno (Bruno Todeschini), and are in turn all noticed by strict, otherworldly head nun Cecile (Elina Lowensohn). As they approach Lourdes, which director Hausner films in a straightforward, restrained, manner, the film begins to circle more and more directly the subject of miracles and faith. Hausner tackles a heavy subject in a delicate manner, and there's a comic vein running through LOURDES which is rewarding, adding greatly to the overall experience. Ultimately, the obvious questions - what is a miracle? Why him and not me? - are tackled unexpectedly with all Hausner's characters performing an intricate dance. The performances here are uniformly good, led by Testud but extending to smaller cameos from two gossipy women, the priest, the volunteers and the little cabal of team leaders who meet every evening to play cards and drink wine and joke about Jesus.