In Evan’s black and white drama “The Message”, the spiritual commodity and sterilization of childhood wonder walking side by side. It is also the paradox that they, accompanied by a sterile drama, despite the emotionally strong movie: a little girl who claims to connect to the lives of pets, whether alive or dead.
The Argentine countryside hosts life on the road for an extraordinary trio during a period of economic recession. As a means of animals on the edge of death, or those who have already reached the other side. Meanwhile, opportunistic parents, Myriam (Mara Bustley) and Roger (Marcelo Soboto), transmit her messages to pet owners and negotiate payments for their readings, respectively.
There is nothing particularly evil about his dynamism, although Roger sometimes wanders in Half, and Miriam guarantees that Annika is always a mediator, although the little girl who is known as the purposeful and poetic messages that left for human companion. In fact, the hypothesis remains in a state of complete stopping between its opening and closure credits, which leaves the uncertainty in its essence. (This plateau pushed many withdrawal operations during the show of the press in Berlin.
However, each gap is later filled shortly after trips. The Annika’s direct issue is sometimes raised its head, and she is particularly relevant when Miriam, to the strange TV news crew, is that all women in her family share this guidance in the risk. Annika’s mother’s visit to a mental health institution threatens to introduce great complexity, but this is also ignored quickly under the carpet, rather than more landscapes that pass, and everything that resembles her. Even the easiest materials through which viewers ’hearts can be withdrawn – relations between people and their innocent pets – barely enter into the spotlight, and prevent any cavity process on Annika’s methods, or the effect of their words on their customers.
If the “message” has one main strength, it is Bootz. The young lead has a wonderful magnetic presence, wandering between young depression and youth depression, although the film rarely creates conditions in which the latter is logical. These transformations are often matched in a mood through the degree of Mauro Mourelos, which are used for centuries in different tones and repetitions to capture these transformations, but these musical points – like the impact of their performance much more than that than Felt, the repercussions of the artistic approach that proves to be realistic for materials within reach.
It is a film of meat and blood that does not leave a big room for imagination, or ethereal possibility. Its reflections on spiritual – or even on innocent, naive, young – begin in the world of documentary craftsmanship. The young novel is a spark for a magic thing, but at any time the camera picks it up as if there was anything more than the truck in which you are riding, or the window that you see through the world passing through it, which makes it without it. A lot of interior exceeds the function you bear. This framework can, in theory, can serve a stable purpose, but the film’s methods rarely deviate from this even in short moments of joy and intimate relationship. The result is a flat film, in an attempt to capture repression and restraint for a graceful and unannounced thing, as well as in this process.