Somewhat pretentious cheap symbolism combined with absent narration make for a festival piece that does not warrant broader screenig as it would lose most audiences. The last scene is a clear attempt at getting it out of the catatonic state the previously, oh so clever circularity example, hurly-burly accompanied scene must have caused.
The title and shooting style clue viewers into some of the main thematic exploration here, making it a more interesting experience than it otherwise would be. I wasn't expecting to be drawn in but Basma Alsharif managed, at times, to do just that. It's not consistent enough to rate as a good film though, just hovering above and below the average mark.
Dislocation, isolation, grief, conveyed as an abstract series of images of places, times, memories. With the lack of narrative structure we are forced to imagine one. Beautifully wrought images placed purposefully beyond our ability to find the coherent pattern that holds them together. Like the characters, we struggle to find our place. I found the backwards sequences to be unnecessary and mostly distracting.
It's a little too long but the overall looping effect of what has been, is, and might be is intriguing and some of the imagery and cinematography is breathtaking. The resonance of internal exile to a dilapidated backwater which is the subject of Carlo Levi's transcendent 'Christ Stopped At Eboli' is profound. Matera will of course be European Capital of Culture in 2019! So times do change.