Luisa experiences a range of emotions in dancing with Ernesto. She wants to give in and also run away. She wants to cry and also cherish her joy. Is it convenience or love? A single mother to twin girls, Luisa struggles to rebuild her life after the loss of her husband and brother in a car crash. Ernesto is everything she needs and yet he is also smothering. Luisa starts to talk about the crash and he only unzips her dress. Ernesto is a man who knows what he wants; to possess.
"There are things too painful to talk about," said the director at the 2016 Miami International Film Festival screening "to survive you can't look back."
This luminous, 1960s centered, black and white film is, according to the director, "six and 44 years in the making." Rotter is referring to how long it took to make the film and also how many years he has lived and thought about this family tragedy. The collective memory of the tragedy was like mist and no one wanted to discuss it. Family portraits he found "appeared like ghosts." Rotter wanted to help uncover how his family was built.
Like the stars at night and Luisa's dance with Ernesto, the film is radiant, yet also distant, silent and multi-faceted. The audience fills in the gaps.
"There are things too painful to talk about," said the director at the 2016 Miami International Film Festival screening "to survive you can't look back."
This luminous, 1960s centered, black and white film is, according to the director, "six and 44 years in the making." Rotter is referring to how long it took to make the film and also how many years he has lived and thought about this family tragedy. The collective memory of the tragedy was like mist and no one wanted to discuss it. Family portraits he found "appeared like ghosts." Rotter wanted to help uncover how his family was built.
Like the stars at night and Luisa's dance with Ernesto, the film is radiant, yet also distant, silent and multi-faceted. The audience fills in the gaps.