In a slightly crazy mind game that is “hot milk”, something is with Rose legs. The elderly single mother, who played with an in -depth bitterness of bones by the Irish actress Fiona Show, has spent the past few years paralyzed due to a disease that no one can diagnose. I have seen several doctors, the best guess is that it is psychological, something related to a distant shock that refuses to confront it. It seems that the film, which was done by director Rebecca Linkvich, appears to be adaptive to Dibora Levy’s novel, less interested in finding a cure for Rose’s condition from preventing her spread.
Like the book (but it lacks its easy style of consciousness), “hot milk” is listed from the perspective of the daughter of Rose, the amazing Sofia-and the beautiful way-in the mid-twenties (Emma Maki), whose studies have placed anthropology to hold in order to accompany her mother to Spain, Where a processor named Gomez (Vincent Perez) is trying to approach a more comprehensive approach. This trip is hardly vacation, although Sofia benefits the maximum from its hut near the sea to swim (between the poisonous jellyfish) and explore (with fast -demolishing and not less dangerous, Vicky Krebis plays).
However, it is her mother -based mother who dominates her days, and blows her like a lot of coarse sand that caught her clothes. When Sophia does not ask for this or that journey, the elderly woman – who is depicted by Shaw as a human being, wanders in her pain – about insects and heat and her daughter’s imagined daughter’s lack of ambition. Sofia rejects as a “permanent student” without realizing that this manufactured coding is her own creation. No wonder that the young woman is full of resentment. We also feel it.
“Hot Milk” is one of those films that look like a torture screaming holding deep into it, just waiting for the explosion. The film makes the strengths responsible for Rose, but also the needy effect, the suffocating it carries on Sofia. For Helmer Linkificz for the first time (which she participated in writing “IDA” and “She Sally”, which now appeared for the first time behind the camera), this complex mother’s dynamic is the center of the film’s gravity. However, for the audience, it is the sabotage magnetic force that attracts Sofia away from everything that she should do with her time in Spain, where she dominates a side trip to Greece, where her scattered father offers common visions.
Maki, who plays the role of the young woman, has a severe, very intense profile, such as a young Uma Thurman or cinema star Shera Mastroiani, who inherited the acute bones of her father and the wide eyes that resemble the doll of her mother (Catherine Denov). In principle, it is a sufficient mysterious face to carry a movie, however, the character itself is largely drawn to the extent that the short operation time can not be maintained for 93 minutes, mostly because Linciewicz has failed to determine what this character wants.
Is there independence from her chronic unhappy mother? Does the exciting dynamism between her and Ingrid – the source of pleasure and jealousy – represent a real desire, or just a different woman who has to calm down and recover? The film does not explicitly reveal the cause of Rose paralysis, although it is diagnosed with an equal blockage in Ingrid, which cannot forgive itself for the tragedy of childhood. (Krieps picks the edited side of Ingrid, which is more interesting before recognizing what it suffers from.)
Sofia was writing her thesis on Morgeret Science about Margaret Meed, whose note that human nature was flexible but flexible also could be the thesis of the movie, although it would be more convenient (but it may be very clear) if she was studying psychology instead. For some, the ambiguity of “hot milk” will definitely leave space to learn and customize Sofia’s experience, although it looks more vulnerable to frustration.
The film is revealed in a dreamer, in the development of Sofia’s personal, but it lacks a tangible feeling of his experience indirectly-a shame, because it is a great location in which such an intense recovery can be done. How to assemble “hot milk” (through “Love Lies Playing” Mark Towns), it is impossible to track the amount of time when the viewer retreated. Meanwhile, there is no little feeling that the life of the characters continues when it is outside the camera … and there is almost no way to say what is happening after the amazing last scene, when the film suddenly turns into black.
If we look back from this scene, with “What happened to the child Jin?”-Like the value of the shock, it is fair to conclude that “hot milk” was a study in breaking certain courses and refusing to surrender to shock. Levi and Linkevich preach a tightening approach, flying in the face of the place where the younger generation seems to find itself at this moment: the victim’s embrace and crying. After indulging in Sofa for the best part of the time of operation, the film suddenly supports her newly discovered feeling of independence. Whatever the fate of her mother, Sofia should learn to stand on her legs.