I jumped into Invasion season 3 completely fresh, no recap, no catching up, just me and episode 1 on a random weeknight and it felt like walking into a party where everyone knows each other and you are trying to decode what the fuck is going on and questions keep coming up and I like that. The episode opens in a way that pretend peace is normal now after the big mother ship crash, people celebrate the anniversary like some new holiday, fireworks vibes and good times and then it all starts peeling off. From what I gather this world went through hell with a huge alien ship falling and wrecking a chunk of the planet, that area turned into a toxic dead zone and humans decided cool we won, let us go back to sports and speeches and a single world government, the WDC running things. Except there are tiny cracks everywhere, you get that early cold open with a family and then something brutal paying them a visit, not loud, not flashy, just the reminder that the monsters are still out there stalking the dark while people barbecuing. That alone sold me because I like when a show pretends stability is real then yanks the rug, it makes the air feel heavy and the pretend smiles fake. I will say up front the CGI looks a bit rough sometimes, specially on closer shots or the wide background plates where the portal effect kicks in, not trash but a little off, still the mood carries it and the sound hints are excellent, it is more about dread than big set pieces here, this is not the episode for fireworks or constant chasing, it is mostly mood and puzzle pieces.

• IMDB: https://www.imdb.com/title/tt18177528/
• Platform: AppleTV+

The big swing here is Travante Cole popping back into the story out of a portal that was supposed to be dead, this guy volunteered to go into the alien ship before and was assumed gone for good, now he reappears floating and alive which scares everyone more than it comforts them. I like this angle a lot, it is less yay our hero returns and more what did they do to him, what is he carrying back with him, why now of all times. The WDC suits treat him like a potential Trojan horse, which honestly feels believable considering how the aliens have messed with people’s minds before, mimicking voices and playing inside your head like a broken radio. Travante does not remember everything, he has this scratch at the back of his mind that something is wrong, flashes of a huge core inside the ship, him swinging that shard weapon that was suppose to end them and then getting flung back like the ship spit him out on purpose, he keeps insisting they are not done yet and nobody in charge wants to hear it because it ruins the nice victory speech and the peace branding. I actually dig how the episode refuses to hand over neat answers, it keeps it blurry, like he is haunted and the world wants to medicate it away, there is also this quick eye thing he gets, that blue flicker and if you watched the earlier stuff you would know it means something is not normal in there, I do not have the full context but the vibe is loud, he is not just back, he is tethered to something. The drama sometimes drags, people debating in rooms, a lot of looks and pauses and I get that it might test patience if you want more action, but the paranoia thread keeped me with it, it is like when someone knocks softly on a door for a full minute, it is annoying, until it is scary.

Jamila is the other anchor this hour, now in London trying to live like a regular teen with a new boyfriend and a calmer life but when Travante shows up on the news it rips open that grief she still carries for Casper, her best friend who did not make it back from that final push. Her decision to fly across the ocean felt impulsive and very human, she is not chasing heroics, she needs to know what really happened to him and if Travante saw anything in those final moments, when she approaches Travante at the big welcome event, handing him Casper’s EEG from the moment he flatlined, the show flips a switch, those readings act like a trigger and his memories flood harder, not in clean images, the ship core, power humming like a giant heart, there is also this spooky hint that Casper might not be completely gone, like his mind touched their network and left a fingerprint, I am not saying he is alive just that the connection did not cut clean. That small detail got in my head because it turns this into more than a military mystery, it adds a personal thread that can actually carry the season, grief mixed with cosmic WiFi is one way to look at it lol. Jamila choosing to go with Travante later is one of those TV choices that can be dumb in other shows, here it works because nobody official believes him and she is done waiting for permission, it is the two of them against a system that would rather keep the party going than admit the storm is back on the horizon.

Another thing I liked, the show takes its time to explain why the world is so deluded, after the crash the hunter killers pulled back toward that dead zone, the portals got shut down and torched, the WDC took over and turned the planet into a single flag operation so people feel safe because the rules say it is over, even though the dead zone is literally unlivable and still breathing fumes. The episode hints that the mother ship did not fall because humans beat it, it fell because something on their side changed strategy, like they molted the shell and buried it, that is a creepy idea, it means the victory people celebrate might be part of the invaders long game and if that is true then Travante being sent back could be part warning part weapon, I hope the show leans into that distrust, it is way more interesting than a straight invasion swaem. There is also a cool callback I caught from the transcripts, the birds flying in weird synchronized swirls thats always a bad omen and things about to go south, that pattern is a tell in this world that something alien is close, so when Travante looks up and sees it again, it is not just a pretty shot, it is a siren. The episode makes a point that authority figures either write him off as PTSD or call him compromised, the head of defense even mentions how Travante keeps surviving when others do not, which is both unfair and exactly the kind of thing a paranoid bureaucracy would say, the show is trying to make you question him a bit, but not enough to fully turn on him, it walks that line careful.

Now the stuff that bugged me a bit, the CGI has this rubber feel in some portal beats, not all of it, just pieces, also there are stretches of heavy talking that go around circles, I get that it is setting the table for the season and it is episode one so it must bring back the world, but a touch more urgency would have helped, the action is minimal for sure, this is not a set piece premiere, it rides on mood, tension and crumbs of sci fi weird, personal drama takes up a lot of space, some of it strong, some of it feels like glue between bigger reveals, I am fine with slow burn if the payoff hits soon, for now I am in, but I hope episode 2 brings a spike and not only more meetings and staged speeches. That said the episode is good at hiding sharp teeth under normal days, the family scene at the start is a quiet punch, the Jamila stuff feels grounded and Travante’s haunted stare sells more than any exposition line, also the whole single world government thing is a great sandbox for mistrust and cover ups, they even keep his return secret for days before rolling him out for a victory event, that is the right kind of shady. Tiny touches like the dead zone being a place where even the alien beasts retreated to, almost like they were called back home, gives the world a lived in threat and I prefer that to random explosions.

Towards the end the show finally moves the pieces, Travante realizes he will not get help from the people in charge, Jamila stops living in the past and chooses forward motion and both of them hit the road to find the few people who have real experience with the weird, the names that pop up through the episode make it clear they are trying to link this season events back to the key survivors and brains that dealt with the entities and their frequencies before, I did not watch those past espisodes but I can tell they are important and that the reunion is part of the season plan, I like that a lot, for sure I plan to catch up so going to have to burn some hours watching the first season. The last scenes with the birds is simple and great, a visual callback that says we are not safe without shouting it, couple that with the early house attack and the portal flicker under the ocean and you get a clean message, the invasion did not end, it just went quiet, now it is waking up again. My first impresion of the series and episode, the episode drags here and there, the CGI has rough, there is way more talking than doing but the core hook is cool, the paranoia is working, Travante returning broken and possibly linked is so so good, I want more context on the shard, the portals and how deep the alien hive plays inside peoples minds, it got me interested enough and even with the slow roll I can see the storm building.

#skiptvads, #inleo, #hive, #invasion, #apple, #season3, #premiere, #travante, #jamila, #casper, #wdc, #portal, #mothership, #deadzone, #aliens, #hivemind, #memory, #warning, #london, #atlantic, #return, #paranoia, #birds, #threat, #danger, #survival, #drama, #scifi

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The Cost (S01E10)

Airdate: August 11th 2002

Written by: David Simon Directed by: Brad Anderson

Running Time: 55 minutes

David Simon’s unflinching and profoundly pessimistic vision of the War on Drugs, as crystallised in The Wire, posits a grim reality: any perceived victory is inevitably small, arduous to achieve, and perilously close to collapsing into catastrophic defeat through the merest twist of misfortune or systemic indifference. This core tenet of institutional futility finds one of its most devastating and meticulously crafted illustrations in The Cost, the tenth episode of the show’s inaugural season. Far from offering catharsis, the episode relentlessly demonstrates how the fragile scaffolding of progress, painstakingly erected by the Baltimore Police Department’s detail, can be shattered in an instant, revealing the profound vulnerability of any attempt to challenge the entrenched power of the Barksdale Organisation within the rotting ecosystem of the city.

The investigation against the Barksdale Organisation, whilst demonstrably progressing, crawls forward at a pace dictated by meticulous police procedure – a pace Lieutenant Cedric Daniels ostensibly champions. He understands that dismantling a sophisticated, violent drug empire demands thoroughness, wiretaps, and irrefutable evidence to secure convictions that stick. Yet, Daniels is acutely aware that the hourglass of political tolerance has nearly emptied. His superiors, particularly the politically attuned Deputy Commissioner Ervin Burrell, are desperate to conclude the messy, resource-intensive, and potentially embarrassing investigation. They crave a quick, public "win" to appease the mayor’s office and quell any whispers of scandal that might surface from the detail’s methods. Even Judge Phelan, the task force’s initial judicial champion, has withdrawn his crucial support after being unceremoniously dropped from mayor's re-election ticket, a stark reminder of how easily political winds shift. Daniels is thus trapped: he must deliver arrests now, regardless of whether the evidence is truly comprehensive, or risk seeing months of gruelling surveillance, wiretaps, and informant cultivation rendered utterly worthless by bureaucratic termination.

Thankfully, or so it seems, the painstaking labour has yielded several promising avenues. Detectives have pinpointed a heavily fortified stash house, potentially containing a massive quantity of narcotics – a tangible, arrest-worthy score. Simultaneously, the volatile Omar Little, whose personal vendetta against Avon Barksdale nearly derailed the investigation by provoking reckless violence, is forced to seek help from Detective Jimmy McNulty and Kima Greggs after being severely wounded in a botched assassination attempt on Avon himself. Avon, shaken by his narrow escape, becomes momentarily receptive to Stringer Bell’s preferred strategy of cold pragmatism over blind retaliation. Bell is dispatched to negotiate a tense truce. This presents the police with a golden opportunity: Omar, wired, could capture Bell explicitly implicating Avon in the attack. Yet, Bell’s legendary caution proves insurmountable; he carefully avoids uttering anything that could directly tie Avon to the violence. His quick acceptance of a $5,000 "damage" payment to Omar is the final confirmation for the stick-up man: the Barksdales will absolutely kill him given the chance. Recognising this, Omar makes the pragmatic, heartbreaking decision to simply vanish, taking his vendetta – and his potential testimony – to New York City. Another potential victory evaporates.

McNulty, meanwhile, secures a different kind of informant: the tragically doomed Wallace, now a hollowed-out 16-year-old addict. Haunted by his complicity in Brandon Wiley’s murder and desperate for escape, Wallace agrees to testify against his former bosses. Yet, the crushing reality of Baltimore’s institutional decay rears its head once more. The cash-strapped city lacks the resources for even a basic witness protection programme. McNulty, operating beyond his mandate and driven by a flicker of conscience, is forced to personally shepherd the terrified boy into the countryside, delivering him to a grandmother Wallace hasn’t seen in years – a makeshift, profoundly inadequate solution that underscores the state’s abdication of responsibility. Wallace’s fragile hope for a new life is immediately cast into doubt, another small step forward instantly burdened with the weight of systemic failure.

The most promising avenue, however, appears to open through sheer, fortuitous coincidence. Wendell "Orlando" Blocker, seemingly undeterred by a brutal beating administered by Avon for his independent drug schemes, persists. Unbeknownst to Orlando, his new supplier, Troy Wiggins, is actually Maryland State Police undercover officer Troy Johnson (played by Neko Parham). Following Orlando’s arrest, he readily agrees to testify against Barksdale and participate in a sting operation where Kima Greggs poses as his girlfriend to buy drugs from enforcer Savino Bratton (Chris Clanton). Tragically, whilst Orlando languishes in jail, he is spotted by Marvin Browning (Jeorge Watson), a sharp-eyed Barksdale soldier. Browning swiftly relays this intelligence outside the prison walls. What was meticulously planned as a controlled police operation transforms into a meticulously planned ambush. As Kima and Orlando approach the designated spot, two hooded gunmen erupt from an alley, executing Orlando and critically wounding Kima before vanishing.

The Cost initially seems the most conventional episode thus far, its shocking cliffhanger finale reminiscent of standard police procedurals. Yet, this perceived conventionality is precisely where Simon’s genius lies. The ultra-violent denouement isn’t gratuitous drama; it’s a brutal manifestation of Baltimore’s grim reality, delivered with unflinching realism. The sting’s catastrophic collapse makes perfect, horrifying sense within the show’s established world. Both the police and the drug trade operate within the same constrained, hyper-vigilant environment where information flows swiftly through the streets, and mistakes are fatal. Savino’s tactical brilliance – turning the police’s own operation against them, using the city’s nooks and crannies – isn’t cinematic exaggeration; it’s the logical outcome of operating in a landscape where survival depends on anticipating the enemy’s moves. The police, for once, aren’t the hunters; they are the prey, meticulously targeted in an operation that exposes the terrifying fragility of their perceived control.

Director Brad Anderson (known for diverse work from The Machinist to Mad About You) masterfully crafts this suspense. The sequence operates with Hitchcockian precision; the audience, privy to Browning’s identification of Orlando in jail, is gripped by agonising dread as Kima and Orlando walk unknowingly towards their fate. Every mundane detail is rendered with chilling plausibility, making the hope that this time disaster might be averted feel unbearably real, and thus, the inevitable violence profoundly shattering. Even earlier, seemingly innocuous moments gain retrospective weight. Kima’s night out with Cheryl and her lesbian friends, which in a lesser show might feel like a clumsy bid for audience sympathy or a clichéd signal of impending doom, is presented with such down-to-earth, unremarkable normality within The Wire’s fabric that its later resonance is devastatingly earned, not manipulative.

Similarly, the poignant scene where Wallace, en route to his grandmother’s rural refuge, asks McNulty about the strange noise outside the car window – only to be told it’s crickets – stands as one of the series’ most quietly devastating moments. Simon uses this simple exchange to illustrate the profound, soul-crushing confinement of the streets. Wallace, a child of the projects, has never encountered crickets; his entire frame of reference is defined by the concrete jungle’s specific sounds and dangers. The noise of the natural world is alien, highlighting how the brutal realities of Baltimore not only endanger lives but actively shrink horizons, rendering fundamental aspects of existence beyond the city limits utterly incomprehensible. It’s a microcosm of the larger tragedy: the system doesn’t just kill; it blinds.

The Cost earns its title not merely through Kima’s shooting or Orlando’s death, but through the cumulative weight of every shattered opportunity, every bureaucratic constraint, every moment where the city’s pervasive rot ensures that progress is fleeting and paid for in blood. It is the episode where Simon’s thesis becomes undeniable: in the War on Drugs, as waged in Baltimore, there are no clean victories, only varying degrees of loss, and the cost of even the smallest step forward is invariably, catastrophically high.

RATING: 8/10 (+++)

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I think I first started to actually watch The Boondocks was two years ago. I can't remember getting particularly far into the show, mostly watching through the first season. I found it utterly hilarious. Though I was also watching other things at the time, and eventually ended up going to Turkey, which then took me to Armenia. Then to Georgia and now back to Armenia. The show was put aside as I continued to watch other things here and there, though generally less as my free time became significantly more occupied elsewhere. It's hot here in Yerevan, and going outside into the sun is a bit dangerous for both the UV and the heat itself. It's best to find ways to stay inside, whether it's going to cafes or just staying home where things are cooler. This has given me a lot more free time over the past week, and I remembered that I never really continued watching The Boondocks despite loving it. I decided to jump back into it, right from the very beginning again, giving it the attention I didn't quite get to before.

I think jumping into it from the start again has made me appreciate it more. This is a rare type of show. One that came out in a very strong pop culture environment, with the slow rise of the Internet and before the chaos of the iPhone's release and following developments. With references to people and of events that most people today probably wouldn't understand. Though that doesn't make this something that is stuck within its time, more a gem that shows the sort of environment the west was in back in 2005. Just shortly after the fears of 9/11, the rise of the War on Terror, and the upcoming 2008 market collapse. That is to say the show was sandwiched between some very big events within the decade. A lot of the shows of then still managed to find humour in the modern world, laughing at the situations the people found themselves in, making light of the idiocy that only seemed to grow in its intensity.

For the most part the show follows the character of Huey, a child that is incredibly self-aware of the difficult economic and political environment he lives within. A smart kid that sees the way forward, but is surrounded by people that seem caught up in their self-destructive ways and refusing to adapt and improve. Huey isn't a perfect kid, but he serves as the balance within the story, with each other character ultimately being a stereotype: the grandfather which is ignorant, old, and doesn't want to see anything change. The younger brother Riley which is just a menace and finds the fun in creating havoc. There's even a self-hating black man which constantly displays his hatred for his fellow race while sucking up to every white person he sees, to the point in which it is clearly ridiculous. There's even the upper-class government worker that is black and acts more white than the rest. These are all exaggerated forms of people within society. Put them all together, and you get stories and messages on culture and society, sprinkled in with extra additions of humour to lighten it all up.

John Witherspoon, unfortunately passed, is perhaps the highlight of the show as the grandfather. His voice is incredible, and his soul really punches through into the performance. His character the reason him and the two children live in a more luxury white neighbourhood which has them standing out. Episodes speak on the cultural differences between whites and blacks, though never shying away from the differences that could be considered more touchy. From how Martin Luther King would find today's society depressing. How white people see no problem in snitching because their outcomes rarely result in anything negative. There's also the concept of how stupid the rap world can be and how the drama can actually just be from the fact that the rappers are gay and in love. This is where the show is from the 2005, where no subject feels taboo and it pokes fun in any way it can. Even featuring a Bob Ross character which teaches Riley to create more 'appealing' street art that is really just still life fruit that white people end up loving and approving of, instead of the usual graffiti.

The Boondocks has no limits to its silliness. And it makes it clear that while sometimes there are some aspects of social commentary, it's all coming from a good place and just highlighting the fact that sometimes people are different in how they think, how they act, and that there's something funny about how fragile we can all be when it comes to these differences. This is one of those shows that never stops pushing forward. Each episode being a different story, each one showcasing that early 2000s climate. As if It's Always Sunny met The Fresh Prince and this show was birthed from the two, in a unique anime style.

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** Los separadores y cintillo son de mi autoria, para uso exclusivo de Hive. ** Para la traducción utilice https://www.deepl.com/

¡Gracias por su apoyo, por leerme y votar, GRACIAS!

Thank you for your support, for reading and voting, THANK YOU!

Bonjour les cinéphiles,

Nous sommes sur Netflix.

Comme la saison 2 de la série Mercredi est en train d'arriver sur la plateforme, je me suis dit qu'il était temps que je regarde les films de la Famille Addams, que je n'avais jamais vus.

Ce 1er film de 1991 dure 1h39 et se classe dans la catégorie comédie fantastique et horrifique. Il est, comme les séries du même nom, adapté des personnages de bandes dessinées créés par Charles Addams.

Source Affiche du film

Synopsis :

La famille Addams vit dans son manoir, tranquillement. Les enfants vont à l'école, même si leurs goûts diffèrent radicalement de ceux des autres élèves.

Le papa, Gomez Addams (Raul Julia), est sans nouvelles de son frère Fétide (Christopher Lloyd) depuis 25 ans et Fétide lui manque.

L'avocat de Gomez, Tully Alford (Dan Hedaya), doit de l'argent à une arnaqueuse, Abigail Craven (Elizabeth Wilson). Alford se rend chez Abigail et fait remarquer que Gordon, le fils adoptif d'Abigail, ressemble étrangement à Fétide Addams. Ils décident donc d'élaborer un plan pour mettre la main sur la fortune des Addams.

Lors d'une séance de spiritisme, Gordon se présente donc à la porte du manoir Addams sous les traits de Fétide.

Il est accueilli comme il se doit par la famille et une fête est organisée.

Petit à petit, Gordon se sent bien dans cette famille, en se rapprochant des enfants d'abord, Mercredi (Christina Ricci) et Pugsley (Jimmy Workman) et n'a plus trop envie de leur prendre leur fortune.

Mon avis et petites infos :

Raul Julia était un très bon acteur (RIP 24 octobre 1994, AVC et cancer de l'estomac). Son dernier rôle était Bison dans Street Fighter, alors qu'il était mourant.

Morticia Addams, épouse de Gomez, est interprété par Anjelica Huston, fille du réalisateur John Huston, vous avez pu la voir dans l'Honneur des Prizzi (Maerose Prizzi), dans Les Sorcières (Grand High Witch), dans John Wick Parabellum (la directrice), dans la série Les Brumes d'Avalon (Viviane).

Je ne vous présente par Christopher Lloyd (Doc, dans Retour vers le Futur).

Comme j'avais vu la saison 1 de Mercredi, j'avais déjà un avant-goût de l'humour présent dans le film. La série est de Tim Burton, cela change pas mal les choses quand même. Le film est réalisé par Barry Sonnenfeld.

Il faut un petit temps d'adaptation au début, mais ça va, j'ai encore bien apprécié.

Le film suivant Les Valeurs de la Famille Addams est sorti en 1993 et est aussi disponible sur Netflix. Nous le regardons prochainement si ce programme convient à Itharagaian, qui, lui, les a déjà vus.

Et vous, vous aimez l'ambiance Addams ?

Bonnes soirées-tv à tous,

A bientôt,

Florence

Source photo : image Qwant autorisée

Proud member of the Principality of Bastion

Hola amigos cinéfilos de Movies & Tv, espero se encuentren teniendo una excelente semana ✨. Hace unos días encontré una película llamada El Bosque del Luto, es una producción del año 2007 del país Japones. A mí me gustan las películas que tengan un toque de drama y de mensajes importantes dentro de las historias y esta me dejó reflexionando sobre el camino que sigue una persona luego de perder a un ser querido, el luto es una de las cosas que los seres humanos más tememos y que cuando nos sucede en nuestra vida cotidiana puede llegar a afectarnos gravemente. Está película se trata del luto pero también del cómo a través de las vivencias aprendemos a vivir a través del dolor y a dejar ir aunque nos cueste, así que me gustaría invitarlos a leer mi reseña de El Bosque del Luto 💬☁️

Hello Movies & Tv cinephile friends, I hope you are having a great week ✨. A few days ago I found a movie called The Mourning Forest, it's a 2007 production from Japan. I like movies that have a touch of drama and important messages within the stories and this one left me reflecting on the path that a person follows after losing a loved one, mourning is one of the things that we humans fear the most and when it happens to us in our daily lives can affect us seriously. This film is about mourning but also about how through the experiences we learn to live through the pain and to let go even if it costs us, so I would like to invite you to read my review of The Mourning Forest 💬☁️

La película de origen Japones fue dirigida por Naomi Kawase y de género drama nos presenta la historia de una joven llamada Machiko quien empieza una nueva etapa de su vida trabajando en un lugar un tanto diferente, atendiendo a personas de la tercera edad quienes por alguna razón terminaron en este lugar que es su nueva forma de hogar. Muchos de los que se encuentran allí tienen deterioro cognitivo, algunos no pueden hacer las cosas por si solos y otros tienen pocos recuerdos de su vida antes de llegar a esa edad. Por tanto, Machiko debe enfrentarse a un trabajo que le exigirá tener tacto, paciencia y a la vez la hará enfrentarse a su propio dolor.

The Japanese film was directed by Naomi Kawase and presents the story of a young woman named Machiko who begins a new stage of her life working in a somewhat different place, taking care of elderly people who for some reason ended up in this place that is their new form of home. Many of the people there are cognitively impaired, some are unable to do things on their own, and others have little memory of their life before they reached that age. Therefore, Machiko must face a job that will require her to be tactful, patient and at the same time make her face her own pain.

Machiko debe cuidar de Shigeki, un señor bastante mayor que se comunica con pocas palabras y que tiene recuerdos de una persona muy especial en su vida: su esposa que ya falleció. Entre la convivencia se puede notar que Machiko hace lo mejor que puede para que todos se sientan bien y acompañados en los últimos momentos de su vida de la mejor manera, rodeados de un hermoso campo japones y de siembras que de vez en cuando van a visitar junto a los ancianos para distraerlos de la cotidianidad. Pero el lazo entre Machiko y Shigeki se vuelve de alguna forma un tanto más fuerte y personal.

Machiko must take care of Shigeki, a rather old man who communicates with few words and who has memories of a very special person in his life: his wife who has passed away. In the midst of living together, you can see that Machiko does her best to make everyone feel well and accompanied in the last moments of his life in the best way, surrounded by a beautiful Japanese countryside and crops that from time to time they go to visit with the elderly to distract them from the daily routine. But the bond between Machiko and Shigeki becomes somehow stronger and more personal.

La historia muestra la realidad de las personas que llegan a la tercera edad y que van perdiendo las capacidades que alguna vez tuvieron y que ahora son más como unos pequeños niños quienes se alegran con una nueva comida, una salida al aire libre o incluso con hacer practicas de dibujo para distraer la mente y mantenerse activos de alguna manera. Se siente como estar viendo un video personal de alguien que lo grabó de manera casera para dejar un recuerdo de lo que vivió, la cámara va constantemente cerca de Machiko y de la aventura que le espera con Shigeki, que no va a ser fácil pero al final será liberadora para ambos.

The story shows the reality of people reaching old age who are losing the abilities they once had and are now more like little children who are happy with a new meal, an outing in the fresh air or even drawing practice to distract the mind and keep active in some way. It feels like watching a personal video of someone who recorded it at home to leave a memory of what they experienced, the camera is constantly close to Machiko and the adventure that awaits her with Shigeki, which is not going to be easy but in the end will be liberating for both of them.

El nombre lo dice directamente, este film habla sobre el duelo y la manera en la que muchas veces nos cuesta tanto poder decir adiós o dejar ir a esa persona que tanto quisimos. Se puede ver el cómo Shigeki recuerda tanto a su esposa mucho más que quien fue el mismo como persona, recuerda el amor que los unió y eso le hace querer poder despedirse —a su manera— de ella y que además de esta forma ayuda también a Machiko a dejar ir el dolor que tanto le pesa pero que solo ella conoce y que lleva como una mochila que le hace recordar aquella persona que ya no está.

The name says it directly, this film talks about grief and the way in which we often find it so hard to say goodbye or let go of that person we loved so much. You can see how Shigeki remembers his wife much more than who he was as a person, he remembers the love that united them and that makes him want to say goodbye -in his own way- to her and that also helps Machiko to let go of the pain that weighs so much on her but that only she knows and that she carries like a backpack that makes her remember that person who is no longer there.

El film pueden verlo a través de plataformas como PrimeVideo o incluso en páginas de películas online en idioma español o subtitulado, es una historia que te adentra dentro del hermoso paisaje de un bosque en Japón que guarda todos los momentos que viven Machiko y Shigeki y cómo dos desconocidos pudieron al perderse dentro de este bosque, encontrar un poco de paz luego del dolor. Es una película bastante corta pero concisa con el tema del que trata, no es una historia que romantiza la muerte, sino que nos hace ver qué de las maneras más extrañas podemos volver a reencontrarnos con nuestro pasado y poder dejar un poco el dolor atrás. Espero que la puedan ver y me cuenten que les pareció. ☁️

The film can be seen through platforms such as PrimeVideo or even online movie sites in Spanish or subtitled, it is a story that takes you into the beautiful landscape of a forest in Japan that keeps all the moments that Machiko and Shigeki live and how two strangers could get lost in this forest, find some peace after the pain. It is a fairly short but concise film with the theme it deals with, it is not a story that romanticizes death, but makes us see that in the strangest ways we can return to meet our past and be able to leave a little pain behind. I hope you can watch it and let me know what you think. ☁️

Trailer Oficial

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