Tasteful photography including the handful of aerial shots and careful open sequence shots, I grant that, but the narrative is Manichean like Disney, a beating and drunk husband and a romantic hero who only has his heart on his sleeve and neither a peso (not even clean clothes I would add now that I think about it). Because since the beginning of this millennium, a lot of cinema has been produced that is called art, or avant-garde cinema because it presents a short and punchy plot, alternating different moments of the real timeline of the story between Vera, her baby Masha and the fickle Andriukhin pretending to her; Now I imagine that many producers and directors think a thousand times first about the images they will use and locations, and lastly the script and the semantics of the characters; Therefore, in this film we will never know if the confusion of some sequences is on purpose, privileging form or style over substance or content; It cannot be determined if, in order to convey a deconstructive or postmodernist style, the profile of the characters is confused, and therefore their message or psychology is ambiguous, or whether the editing of this film is terrible, because they were not consistent. the -back and forth- to give cohesion to the back and forth of events. For example, the narrative thread along with the musical theme that will be the repetitive leitmotif, starts from the beginning with Andriukhin's unusual intensity and desperation, as if from minute 2, or minute 3, we were actually seeing minute 58 or 65. throughout history, that is, as in extreme res; except not in extremis res, because the narrative did not give us the ending to go to the past and see how we got there, but after the child's accident and being taken to medical attention, Vera breaks up with her husband and is taken by Andiukhin in the boat - the husband is thrown into the water and beaten in a ridiculous and implausible way because Andriukhin is not athletic nor does he weigh as much as the husband - and thus more speed or dynamism is added to what, in itself, began at 140 km/hour.
Film from the Netflix cut, made to screen in cinema samples and employ cinematographic effects with unreal scenes, note that I did not say a fictional script, the Joker's Arthur Fleck recreates a chaotic fiction, but it is plausible within the narrative it presents; Here we have scenes like the one where the cabin or house catches fire, and everyone lies standing contemplating the fire, "and why didn't they call the firefighters?", "it takes a long time, 3 hours later is a long time." This scene is not believable, unreal for any possible world. It is of no use that the shots of the two lovers hugging on the boat, of the two fugitives from an insane husband (an unreal and Manichean world, bad husband, good abused wife - although she does not even know where Masha is being cared for - and lover) are beautiful. as a hero). And the worst thing, should we highlight the evil of the alcoholic husband? Or why shoot the cow? In the end. Bad movie.
