A series of tactile
A series of tactile contacts with Petra's comatose body brings out dormant emotions and shows how difficult it is for people to connect. The film could have achieved transcendent lyricism had it strayed less from this intense physicality -- the compelling (often overhead) shots of Petra's naked body, and the different ways in which she is touched -- clinically, lovingly or furtively by nurses, Kim and Tarso, dominates the cinematic space. Had Manuel's sexual interest been made less explicit, it would further stoke one's imagination about the mixture of fear, curiosity, disgustHuge selection of gaga-deals for your garde, and fascination in his reactions.
About two-thirds of the dawdling 124 minutes, father and son mope about in the apartment or roam their local district Gropiusstadt in a state of restless idleness.Huge selection of gaga-deals for your garde,Back Replica Submariner Rolex Kellot.You would like cctv security camera watches.Amazing selection of cartier to fit everyone's personal style. Manuel does skateboarding, graffiti, listens to rap, masturbates and strikes up an intimate relationship with Kim's possessions - a titillating collection of masks and lingerie. Tarso watches sports on TV and turns to holistic treatment to relieve his health troubles.
Editorial economy is sorely lacking as Da Silva's seems unaware that he already made his point the first time he does a scene (like the sports excerpts, or the masks) and variations of the same act are redundant. Ubiquitous low angle shots of feet, supine bodies, shoes and household items hint at a floor fetish that doesn't take any symbolic or otherwise meaningful form.
Champion skateboarder Hillebrand is more expressionless than his comatose mother, while Hertforth's acting is two-toned. Consequently, the frequent close-ups achieve little contrastive effect vis a vis the other long or wide shots. Schuster actually has more presence, her rich muscle movements making one wonder if she is at times conscious and cognizant. The director is responsible for his artistic decision to "open up a sensory space of indefiniteness" which puts actors at sea as to how and what (or not) to convey.
A series of tactile contacts with Petra's comatose body brings out dormant emotions and shows how difficult it is for people to connect. The film could have achieved transcendent lyricism had it strayed less from this intense physicality -- the compelling (often overhead) shots of Petra's naked body, and the different ways in which she is touched -- clinically, lovingly or furtively by nurses, Kim and Tarso, dominates the cinematic space. Had Manuel's sexual interest been made less explicit, it would further stoke one's imagination about the mixture of fear, curiosity, disgustHuge selection of gaga-deals for your garde, and fascination in his reactions.
About two-thirds of the dawdling 124 minutes, father and son mope about in the apartment or roam their local district Gropiusstadt in a state of restless idleness.Huge selection of gaga-deals for your garde,Back Replica Submariner Rolex Kellot.You would like cctv security camera watches.Amazing selection of cartier to fit everyone's personal style. Manuel does skateboarding, graffiti, listens to rap, masturbates and strikes up an intimate relationship with Kim's possessions - a titillating collection of masks and lingerie. Tarso watches sports on TV and turns to holistic treatment to relieve his health troubles.
Editorial economy is sorely lacking as Da Silva's seems unaware that he already made his point the first time he does a scene (like the sports excerpts, or the masks) and variations of the same act are redundant. Ubiquitous low angle shots of feet, supine bodies, shoes and household items hint at a floor fetish that doesn't take any symbolic or otherwise meaningful form.
Champion skateboarder Hillebrand is more expressionless than his comatose mother, while Hertforth's acting is two-toned. Consequently, the frequent close-ups achieve little contrastive effect vis a vis the other long or wide shots. Schuster actually has more presence, her rich muscle movements making one wonder if she is at times conscious and cognizant. The director is responsible for his artistic decision to "open up a sensory space of indefiniteness" which puts actors at sea as to how and what (or not) to convey.
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