Even in supposedly enlightened societies it is practically an article of faith that a woman’s identity as a mother must supercede all her other identities. Not only that: any woman not willing to sacrifice all the other love in her life for the love of her child is unnatural, an aberration and the ultimate taboo: a bad mother. Anna Cazenave Cambet’s sweeping, moving “Love Me Tender,” based on the semi-autobiographical novel by Constance Debré, aims at the heart of this pervasive ideology of hypocrisy and unreachably high expectations, and largely thanks to a rivetingly radiant Vicky Krieps, hits its mark with painful accuracy. The paths to what is socially
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