The one joy in the lives of a mother and daughter comes from the regular letters sent to them from Paris from the family's adored son, Otar. When the daughter finds out that Otar has died ... See full summary »
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The one joy in the lives of a mother and daughter comes from the regular letters sent to them from Paris from the family's adored son, Otar. When the daughter finds out that Otar has died suddenly, she tries to conceal the truth from her mother, changing the course of their lives forever. Written by
Sujit R. Varma
It is very difficult to define this film. In fact, every definition is fake because the essence of words or gestures is ineffable.
Otar may be a type of Godot. The incarnated hope, the symbol of filling or image of any victim.
The three women- variant of Tchekov's "Three sisters".
But the reality is not so easy. In East Europe of Communist era, The Occident was the Heaven in all senses. It was the lost Paradis, the normality, the escape. A part of this wonderful world was shield against the daily nightmare. The fall of Communism was not the solution. Occident is a form of chimera not like education or mentality's result but like the personal treasure.
The film is not a moral lesson or image of ex-Sovietic country in transition to European values. It is not an Andre Makine's page. It is only a short life's story and description of a subtle escape. It is slice of dream's rules, descending in past who remains only present and future.
Esther Gorintin's acting is magnificent. A powerful character with a victim's mask, a fragile grandmother for who the life is not only fight or fear, past memories or sweet desire but a form of world's contemplation.
In fact, Eka is the Ada's image. And Otar's death- solution of interior crisis of every character. The end of life in nostalgic universe.
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