A scene from Summer in the Forest (Mangurama Consciousness Film)

In the opening sequence, the camera glides low over a picturesque French village, gently descending through leafy canopy to a verdant forest pathway. John Harle’s tone-setting opening musical score also lures the audience into an initial peaceful state. This is a fitting entrée into the idealistic yet profound philosophy and life’s work of Jean Vanier, a former Canadian naval officer: “We human beings have a compass, a mysterious compass that leads us to do what is right.” Vanier’s theory of human compassion permeates Randall Wright’s documentary as Wright directs his focus onto those whom Vanier serves.

During the 1960s, against all odds, Vanier was able to secure the release of a group of asylum residents in France with whom he created L’Arche (French for “the ark”), a commune at the edge of a forest near Paris. The success of his project, in which people with everything from Down syndrome to traumatic brain injury are treated with respect and dignity, has led to the founding of 149 additional L’Arche communities in 37 countries.

Wright explores the lives and personalities of a handful of L’Arche residents in Vanier’s commune Le Val Fleuri. Michel has largely gained control over the anger that has plagued him since the ill treatment he received in the asylum. He takes pride and comfort in having his own space and personal belongings. André has secured the friendship of a village resident, who invites him to join her for dinner occasionally. David provides comic relief with a Texas Ranger swagger. Playful by nature, he works part-time in a warehouse placing plastic liners inside boxes for shipping.

After the repetitive footage of group meals, picnics, and daily routines, with residents interacting with each other and staff, there is a sudden, disorienting transition to Vanier’s L’Arche residence in Bethlehem, which is described as one of the few places where Israelis and Palestinians manage to peacefully coexist. Music and singing figure prominently among the group activities at this residence, along with the crafting of woolen crèches that are packaged for sale. Here and throughout, Wright uses his film as an opportunity to highlight the compassion of staff and the more capable residents as they interact with the more physically and mentally disabled.

Despite the ideal settings and the obviously selective footage, the documentary leaves no doubt that Vanier’s L’Arche program is a a paradigm for housing and caring for the mentally disabled. It may come as a surprise to most that there are 18 L’Arche residencies in the United States, but the need is overwhelming. Establishing more of these programs requires acceptance on the part of the communities that house them, and acceptance requires overcoming fear. Wright’s film helps toward that end.