Maxime_Descloix

The horror of this film is in its realism (and complete lack of visual embellishments). Not just the best foreign film, but the best film of the year with a brilliant performance by Fernanda Torres. The horror is in the gradual daily adjustment to the fact that you will never see your loved one again - that is what the film is actually about. Horror without reflection. Ordinary and gradual. Ordinary in how you will live on without your loved one - you will drink yourself to death, ruining your children and your own life, or you will look for a lover to replace your husband. Fernanda Torres chooses life and the gradual adjustment to the fact that a husband and a LOVED ONE only happen once in a lifetime, and children (and their mutual love for you) - remind you of this every day. Strength is always hidden in ordinary things, not in a showy fight. And a wife and husband - once in a lifetime. At the end, the look of Fernanda Montenegro (the brilliant "Central do Brazil" - "Central Station" by the same director Walter Salles with Fernanda Montenegro (nominated for an Oscar and Golden Globe) says convincingly, looking at her husband on TV after many, many years: "It's good that I had you and I loved you, I love and remember." A real art movie, I think it will forever remain in the history of cinema as one of the brightest and most outstanding examples of the fact that you don't choose time, it is the way your life has found it - and what will you do - fight the dictatorship, dying forgotten and misunderstood, or choose life as a struggle for life (by your example) - dictators come and go, but human life is priceless at any time. 10/10.

This short film is sorely lacking in long shots and natural beauty against which the story of pain, memories and dialogue driven plot unfolds. Cinema is not only dialogues; often all emotions and emotional experiences are expressed by the art of cinema in the background: there are the most beautiful angles and understatement - these are the advantages of cinema. There is a great lack of depth in the style of the Hungarian Béla Tarr and his "The Turin Horse," where all feelings are conveyed not by dialogue, but by camera angles and background, and people and their inner experiences serve as the basis of nature, part of it. It's very good as a start to cinema, but in full-length films frequent close-ups will be unnecessary, the movie will look like a cheap Hollywood series. I always treat cinema as an art that is designed to evoke emotions for many years, and perhaps forever.