That is a very descriptive title. Not only is this film admirable for its didactic clarity and sincerity, but also for its quietly striking style. Look at AB hold on the faces of those two wounded little boys. Reaction shots tell you how you’re supposed to feel. Here they don’t manipulate, they tell you that you’re supposed to feel. Even more, they actually give you something to feel. The second run-through follows, and the playground shot, which feels as expansive as Bresson’s little moment in the train station (1959, q.v,). A tiny little film, but such tenderness! You know, you never can tell who might become a master of world cinema. But sometimes there are hints …