Each of us express love in a different way and its expression deeply depends of our personality and path. The concept of love is objective, but the way we express it can be totally different of the 'loving behavior' model that we are used to imagine and require. As a whole: I assume that love is strength, but depending on its behavior, it can be damage… that's what I see in this movie.
Despite some impressive child acting, this film functions on a very basic, student film level. Pulling every lighting and camera method out of the book, the film is ham-fisted in its pretty technique, ultimately blurring the individualization of characters, settings, mise-en-scene with systematic and monotonous visual poetry. I'm not complaining that it's pretty, per say, but wishing it was also something else too.
The film is slow paced. However, the slow pacing of the film seems to compliment the ending of the film. The cinematography and setting of The Return is gorgeous in every way possible. If you're tired of movies having to explain everything to the audience, you need to watch The Return. The audience is allowed to interpret the relationship of each family member, any potential symbolism, and the ending.
Una película algo sobrevalorada. La trama es simple, el padre ausente por largo tiempo retorna, este es tiránico, la inocencia de los hijos se inmuta, se generan tensiones, y bueno, el final tal vez responde a las buenas críticas. La muerte del padre es incluso simbólica, una que se refleja además en una foto donde él está ausente.
Mostly disappointing. All the characters seemed shallow and the lack of almost any background aside from a little known father returning left too much to the viewer to the point where there seems to be little reason to care for the characters. Some of the cinematography was interesting but it pails in comparison to the Russian greats.
That disquietening camera movement and those ominous silences are so effective because they indicate our straying into a deceptively serene and very dangerous world, where the unwary are in constant fear of themselves and the shadows that come out of the forest. Not a film about children at all; rather it concerns the peril of our innocence in a violent world.
Mothers nurture. They help us down when the mountain is too tall. The father initiates. They teach us how to stand the weather, how to paddle the water. Bildungsroman, teaching how to live. The boys must pull him until they have arrived, this is the only way his teachings will have been shown to work.
Despite a serious lack of character development on the father's part, this is a great film anchored by the two brothers' fantastic performances and a somber production design that is employed wonderfully throughout (especially through the use of rainstorms, which seem to follow the dreary individuals wherever they go).