Another ethnic group—Cajuns, this time—suffers the patronizing ministrations of the American Independent Cinema. Set in the Louisiana of the 1850s, the film follows a conflict between the entrenched French settlers—with their quaint, colorful customs and relentlessly cheerful attitude toward life—and the arriving Anglos, who want to put the district on a sound business basis. Armand Assante is Belizaire, a free-spirited folk healer whose perceived powers, both sexual and supernatural, rouse the envy of the Anglo establishment; before long, he’s facing a lynch mob. If you haven’t seen it a hundred times before—with blacks, Hispanics, or Vietnamese in the central role—you might enjoy this rendition: the landscape does look nice in Richard Bowen’s photography, and there are some authentic faces among the nonprofessional supporting actors. But Glen Pitre’s direction is blocky and undistinguished, while Assante’s work remains distractingly actorish. With Gail Youngs, Michael Schoeffling, and a cameo by “creative consultant” Robert Duvall.