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259:, which has as much teeth and personality as a gummy bear. Even when the struggles faced by the characters are major life blows like the loss of a child or parent, or the abrupt cutoff of a career, there’s little emotional heft. And the conclusion merely tacks on a tidy wrap-up that’s meant to make us share the joy and hope of renewal of characters we’ve been given scant reason to care about.″
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stand out is its tone and compassionate approach to the protagonists. Berger doesn’t judge or feel contempt towards the “poor little kids” – his storytelling style is subtle and elegant, as is his way of working with his actors. They all play down their emotions in order to let the audience into the
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inner world of their characters, but without revealing too much. Therefore, what could have been yet another pretentious accusation levelled at middle-class indolence is, in fact, a touching, engaging, intimate sit-down with people whom we wish could be slightly better versions of themselves.″
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Halligan wrote ″Although its tri-partite structure and concentration on the ebb-and-flow of domestic affairs imply a lack of cinematic urgency, this is a very satisfying film for connoisseurs of fine drama.″
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American independent directors like
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among his influences. I failed to see any trace of that in
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