“Jean de Florette” and “Manon of the Spring” stay with us mostly because of their sobering object lessons -- and the sense that unseen fate hovers over all our lives.

The second film sacrifices some of the pitch-black comedy of its predecessor while leaning more into fable.

Another aching heartbreaker of a film by Berri that absorbs and rewards the audience for sticking with Manon on her sun-beaten quest.

Based on Marcel Pagnol’s 1962 two-part novel L’Eau des collines, Berri’s films are a gorgeous meditation on rural life, cruelty, fate, revenge and redemption.