Sometimes, there is a song inside you just needing to go out, as many musicians said in an interview with a blow. But what if you are not sure of that for you The sound of fighting is on your way to the top of your throat? Argentine writer and director Lucio Castro hangs this question in “after this death”, which is a psychological drama dodging, dribbling, and moving strangely that flies with her wonderful and wonderful charm-only to be withdrawn from the quiet edge of the edge that applies to a quiet emotional attractiveness to a hidden scenario. If it is not completely completely, it was radioactive as the Castro 2019 appearance for the first time, this amazing element sees “the end of the century”, which is this extraordinary and elegant element in the atmosphere, however, the director sees the director who cleanses the obstacle of the difficult album- sees- sees the director who cleanses the obstacle of the difficult album- sees the director who purifies the obstacle of the difficult album- sees this. With, enough, enough, enough, a story that depends on the uniquely complex album recording process.
Many credit for the success of “after this death”, as it is worthy of the citizen and the leading lady in Castro, and Ms. Mia Maestro, a smart and founding presence that gives procedures to the correct balance between doubts and background during their episodes in a semi -hectkokocococic region. Her fragile safety plays interestingly against the stars that Lee Piece is affected as the influential rock deity that leads the Maestro character to a cosmic puzzle. Its SENDUP contributes to its types of the original Sufi model in a malicious comedy in a highly honest movie of feeling. Actors drew, distributors may play excitement decorations for this special offer in Berlins, although it resists ranked.
Mystro plays the role of Isabelle, a voice artist in Argentine, now settled with her American husband Ted (Robert’s friend) in a modern modern cabin in New York State in New York State-although she still feels somewhat beaten and goes down for dialogue in English in contradiction that. Pregnant with her first child, and with TED often at work, her concern calms down with frequent solitary walking through the local scene – captured here by DP Barton Cortright (“” Cathedral “) in a permanent autumn state of deep Coppers and bronze, with a flash Permanent green Hunter.
In the mouth of a isolated cave, it meets his jail colleague Elliot (PACE), which fascinates it with a balance full of phosphophys around them, although she ignores his attempt to give his number. After weeks, while she was accompanying her friend Alice (Gindoline Christie, who has been spent somewhat in part of the stocks) to disturb, she realizes that Elliot is in fact a Rock band with an enthusiastic worship – her voice is somewhere between wood wood in particular, repeating patriotism And Jim Morrison is the most stoned. It is an essential struggle that Isabelle alone feels confused, and even entertaining, by the lengthy elliott, she talked about a winner on the stage to an innovative audience. But it is bad for him with the same thing, not the least when it is presented, with a straight face, a clear anomalous statement as a core: “I am a wonderful pussy.”
She takes it in his speech, followed by an affair – only to stop the palaces when she suffers from salvation. Amid her shock, it is a second and less clear tragedy that sows the film in the world of strange, as souls are intertwined or may have been combined into the accident, and Elliot’s disappearance from the scene does not fully feel the final connection. Meanwhile, his obsessive fans appear to be firmly conveyed, in increasingly threatened ways, because they are eagerly awaiting the final album of the long band. Castro’s scenario plays intelligently on excessive scrutiny in the complicated calligraphy and symbol of contemporary music to the end of feeding bone, although the film may outperform its color intentions with Namecheck “early.”
It is useful to feel the band’s music, made by Robert Lampardo, as if it could be found in the real world, and accumulates this type of loyal audience and reading closely: extensively complex lyrical images on a mixture of vocal devices noise. YEGANG YOO, with a whisper and Woodwind notes, is a Sonic Airier corresponding point all the time – Isabel’s mind music is more than Elliott.
Ultimately, the two voices will meet in the middle, with the effect and even the healing results. Under the layers of existential ambiguity that give “after this death”, its strange withdrawal is a serious love poem for art and how it was built, whether for personal release or communication with another party, known or unknown, from this land or somewhere behind it.