A family album in motion. It shows the director’s fondness for portraiture, here contrasted with his fascination with certain energetic or honest facial expressions. As a final kiss – Barthes’ punctum – intimate and indescribable.
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Not many films tackle this mood of being placed, not randomly expulsed among world's objects, amidst some arbitrary choices that plop us here or there and cling to us like unseen umbilical cords long after the maternal one was cut - the subtle web of ground and aerial roots waywardly tolerant of movement. Necessity holds the bad repute of limiting the scope of freedom and sectioning space into arid or auspicious
I like to see children´s faces when they don´t know they are filmed and all their honest expressions and reactions (like in "Ten minutes older" and "For the first time") but this approach has its own charm as we see them smiling at the camera, shy, and then doing something sweet and random because they think it´s boring to only stare at the camera and smile :)) and that was an awesomely pilled apple :))
How many children does Luisa Santos have? 2? Two for each year? Each hour? Each minute? The successivity of serial selves (and one doesn't need Hume: every parent rues & accepts this), and a film that shows us how to put to use well that main contemporary function of the camera-eye: mnemonic surrogacy.