Puipa's irreproachable tour de force. Interior chiaroscuros reminiscent of Rita Azevedo or Pedro Costa, and in painting Caravaggio, framing like Tarkovsky. We already know that he emphasizes the scruples that gradually allow his characters to be guessed and is not a friend of cinematic sensationalism. The impressive shots of the whale or gallows jumping in the open plane or the envious sunsets are rather part of the realism of the devilishly off-the-grid, exotic but fierce environment of the Swede's story. Puipa has never advocated a punctilious or complex narrative either. I have not read Lin…
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