stephanlinsenhoff Reviews

Firelight (1997)

Servant: "Miss Louisa being educated"

[10/10 · 30 January 2019]

To pay her fathers debt she agrees for a child she will give away at birth: this the deal. She does noy know for whom and where. This the agreement and deal. She givwa birth to a girl she should never see and has to forget. Her fathers debt is payed and everything is done. Is it? No. A diary is written: To my english daughter. It does not take seven days, months but years until the daughter Louisa is found.Much to the anger of Louisas father. His stubborn´(uneducate=) daughter. Not a few governess come and leave. when Elisabeth (her mother) arives Louisa treats her like a servant: "Servant, servant, servant" Her father is of course apsett but has to keep her, this is the law, at least three months.. Louisa knows that the sick lady is not her mother. Her mother is in the lakehouse to which not once the camera follow. It is hear Louisa is wirh her imagination of her mother. Elisabeth has to stay. Only she and Charles know the truth. Tuneducated child is now educared by the governess, her mother. Ii is everurhing else than easy. All these years the world around her had to follow the child. Eventually the come to an understanding. The child and her servan. As onre of the servants tell Charles, hearing his daughter scream: "Miss Louisa being educated." What happens when only the firelight gives light? Then everything happens. But when the lamp is on everything is forgotten. It is this a secret. Before the happiness - Louisa finds in her governess room the diary. The governess who gave her a meaning of life is her mother. But before this more drama is needed- She discovers the governess in her fathers bed. The seed of love then has flowered-Her father andbher governess - her mother - .... which .... The estate has to be sold. The grandfathers style of life is the reason. What happens with Charles wife, what happens with her sister, what happens with the future for all of them? It is a happy ending but also with a destiny to cope with for Elisabethm Charles and Louisa-

Mademoiselle Chambon (2009)

Veronique: "Where are you?"

[9/10 · 7 October 2018]

This little french jewel of this ever-day-movie is subtle on the edge of adultery. she a middle-class-teacher and he a working.class-carpenter. They did not and never expected, the lovefall bu, yes, it happened.She is a stand-in-techer in the class of his son. .She is offered to stay but denies for a new asignement in Paris. This the reason she tells at school. Him she tells the day and deparure of the station, waiting for him after their together-night. He comes to the station but waits, frozen by time.. She is invited to the birthday party of a relative at his home. While she plays the violine the carpenters wife, Veronique sees what she sensed as the answer why her husband is lately absnt munded: "Where are yoy?". He pretenmds not to understand but both know. She could start off a screaming scene but does not. It could not be part of the movie. Jean comes to the station but does not come upp. They both wait, frozen by time. The train leaves. He returns home wheer life returns to normality. The middle aged carpenter had his excursion what not a few men in his age are confronted with.. Some do not return but divorce. Them who return resume fresh the ordinary life. An experience for him and her, the husband and the wife. An every-day-adventure and experince of: "Where are you?".

Your Sister's Sister (2011)

Young Boy #2: Whoever has the Sun, turn it on!

[9/10 · 21 February 2018]

This movie is a drama of a triangle between the 'loser' Jack, and the sisters Hannah and Iris. Jack is sent to the familys cottage to think about his future. He arrives, not knowing that the other sister, Hannah, is there. He searches for the key and gets in 'as thieve' and is received as a thieve by Hannah with a gun. They 'celebrate' this misunderstanding by drinking - and - sharing the bed. Early arrives Iris with food, not knowing that her sister is there, Jack dresses in a hurry, leaves and returns 'from a morning-run'. Eventually we learn that the condom was prepared, Hannah hoping that she gets pregnant. The film ends with the open answer question if she is pregnant or not. The issue is another. The focus how they cope with themselves. The general rule for a loser is: is nothing left the only alternative is to turn - and tis does the might-be-father: turns and returns, telling the truth of himself and offers whatever he is able and is asked of him, the might-be-father, ready to do his best. The question is not the might-be-pregnancy but how to cope when nothing else is left but to turn. It is good to have company and you are not alone. To have the assurance: "Whoever has the Sun, turn it on!"

Room in Rome (2010)

Natasha:"You woke me up!"

[7/10 · 18 March 2017]

This movie can be seen in different ways: as pornography, as ... as ... what ever. Two women in a bar start talking to each other and on their way to their hotels, one of them invites the other for another drink to her "Room in Rome". Natasha and Alba. They cross the pornographic line and .... do like what they do, as it seems. Looked at from the front it is indeed pornographic but seen what happens from behind, turning and looking back, it is different. As one of them tells herself in the mirrors bathroom: "You will always be my mirror." Nothing can be alike and everything will be different. One is on her way to her sisters wedding, the other to the airport and back to Russia. But will it be for both as the end suggests something else: "Alba", "What?", "Look!", rushing after the other. Whatever happens after and beyond, they do belong to each other after this nights events. "Yes, I love you", "With fantasy's or not?", "Both". Of course pornography, what else? It is the front what we look at, without seeing what is behind. This is real for them: "No fantasy's. I feel it with absolute clearness. The gates opens for us. Don't you hear them? Close your eyes"

In society we have the tendency to look without to see as it is more comfortable. A handicapped with a normal capacity of thought is by not a few looked at and judged. But those few who dare to active "see" can be rewarded. It is this what happens in this movie: active see beyond the obvious that cheats.

dedicated to Clemencia P., to CP StephanSE cerebral pares cp

The Diviners (1993 TV Movie)

Morag: "Look ahead into the past ...

[8/10 · 24 March 2016]

... and back into the future. (right into silence) " Swedish edition 1986:448

writes Morag, mother to her daughter, daughter to her father Jules, Canadian Indian. The film moves forward and back, following the shifting of Morags life after her parents death. She lives with Christy and his wife. The towns garbage collector, laughed at by the children. Back and forth but always forward we follow Morags life towards her life as a writer. She falls in love with Jules, the halve blood Canadian Indian. Morag is their daughter. But Jules is unable to stay. Comes and goes as he feels to. A book and a movie that touches when it crosses your life

In a heart-moving scene near the end, Christy at the hospital, paralyzed, visited by Morag, we witness his greatness.

..... to be continued.

The Danish Girl (2015)

Einar/Lili: "I am sorry"

[7/10 · 9 February 2016]

The Danish Girl is a man gone through two operations which cost him his life. But he is content what is, what he achieved. All the way along his wife is with him. It started when his wife Gerda asks him to be her model for a/her paintings. Einar agrees and eventually 'discovers' the woman inside. As we all have the counter male/female in us. Nothing special with it. The 'mirror' that allows us to understand the other. What started as a naive game turns to seriousness.

As Carol in the movie Carol learns that everything has its "price of salt" (which is the daughter) is even here a price: Einars/Lilis life. He and his wife are well aware of it and still it is done, the border crossed with no way back. It is 'autistic-literally'. Not enough to know of C G Jungs 'anima'. It has to be more. And beyond. And everything has its price 'of salt'. Too late to return. The border is crossed. And Einar/Lili has not the wish to return. The second operation fails and means his death. But Einar/Lili is content. He has shown that trans-gender is possible - for who ever has the wish to cross the line. He was a pioneer. It is this he expresses in the moment of his death: returning as child to his mother. Not a few followed him as the after-text mentions. Einar/Lili gets the question to return. He denies: "I'm sorry." He never regretted what happened. He dies in piece. As a task was fulfilled. Done

More is to be found here among the other contributions as well at Wikipedia.

It can be mentioned that reality was different as described in the book and the movie. There was a divorce. The last picture with the mountain is false too. Denmark is flat.

Narkos (1944)

Kristina: "What can I do for you?"

[7/10 · 2 January 2016]

Kristina, the devoted, serving upper class wife to Hans, a professor and chemist with a promising future embark the train for their wedding anniversary. He becomes due to a railway accident a depressed wheelchair-cripple. Kristina helps him coming back to life and his work. Then the bachelor friend Jan from olden days arrives and everything is set for the love-triangle. When finally truth is told between the friends and the lovers have suffered, the husband arranges his death, blessing before he dies their future.A typical film of its time with the devoted wife, the blind, demanding husband and the friend who safes the wife from a misery life with a cripple. Well done by Karin Ekelund, those days bright star who even the Selznick office in Hollywood had shortly an interest.

Carol (2015)

Abby: "Tell me ...

[10/10 · 31 December 2015]

... what you're doing?" ... and Carol answers: "I don't. I never did." Here she does - and learning it the hard way. In the behind-center is her daughter. When she finally has to choose she chooses her daughter, forced not by her husband but by society at large. It seems that she sacrifices her true nature, her lesbian nature, forcing herself to live what she never will be able to do - even with the help of therapy (as the author did. To afford the therapy aiming 'to be normal' Patricia Highsmith worked for some short Christmas-weeks at Bloomingdale/Frankenbergs. Here she met the real Carol, Mrs E. R. Senn. Be normal. She also tried an engagement. Her fiancé knew that she was lesbian. In the movie Therese is a short time engaged to Ralf, as Patricia Highsmith was...

Who is the looser, who wins? In this story which repeats itself who ever is confronted by the ordeal of divorce? Not she, not he or them. We all are the instrument of a society that does not permit un-normality. Society is the looser. And Carol (loraC is a well known perfume!) gives her daughter as a gift for the future an example how the grown- up daughter can remember what her mother did when everything was at stake and she perhaps is in the same situation. For young Therese (she is not yet a mother - has not Carols experience) it is not easy to understand when reading Carols letter.

By not following society's view of what is normal-not normal but forming as alternative a room of freedom in which Carol shows how and what to do in such a situation. Seeing her daughter as society-Harge wants it. Not wanting a warlike fight-back. But accepts the consequence-acceptance. The most precious Carol and Harge have is of course their daughter. Unworthy to fight in a warlike battle. By not fighting allows her a space of freedom: give the law what the law wants and you have every kind of freedom you want, need and wish. It is this Carol realized and put into practice. If Harge is not able to accept - which he did - will they meet in court. Like this both won - focused on the child. Their child.

Therese, her "angel flung out of space". She is asked to come and meet Carol. To extend the happy ending for a moment Therese denies to move with Carol to the spacious flat for two. She leaves - - - only to return. Seeking with her eye Carols gaze they connect. Harge and Carol sold in the process of their divorce the house. She lives, as she tells Therese, in an apartment for two. For them.

The author of the book was herself lesbian, broke up from an engagement. The real Carol Patricia Highsmith met when working at Bloomingdales for a short time where she met the real Carol. Inspired, she wrote the same evening an outcast of some pages. It was Kathleen Steen from New Jersey - married and two children. Depressed and heavily alcoholic she committed suicide in the garage Haloween 1951. Patricia Highsmith was unconscious of this. More information in this matter can be found in Andrew Wilsons book 'Beautiful shadow', 2003. When she saw Kathleen Steen at the department store she was already an active lesbian.

Published 1984 - her choice of name was Claire Morgan. 24 may 1989 she published the book as 'The Price of Salt'. For 40 years she denied authorship (now after 60 years the movie). We all know that nothing is for free. Everything has its price. And must be payed. The not normal are well aware of it. Salt is need in our food. Not too much, not too little but: salt. The book closes with the authors own words, written 24 may 1989. The response of her book was huge. Many recognized themselves, thanking her for many years for her courage.

The German DIE ZEIT's (Nr 51, 2015:59) critic of Carol is headed 'Das Ideal einer Affäre'. Is it really an ideal if we all know of the price of salt? Is it worth? It is! A fairytale tells of a king, asking his three daughters how they love him? More than: what? The youngest answer: more than salt. Everybody is chocked and the daughter is banned from the country. Soon salt is gone and the father understands what his daughter meant. Eventually she returns with a magic bag with salt to heal the sick, among them her father.

Carol tried but could not, waiting for ... For what? Therese! For salt.

Mihály Csikszentmihályi wrote 1990 the book 'Flow, The psychology of optimal experience.' Too much is stress, too little is boredom. Neither stress or boredom is flow. It is this experience the road movie Carol describes. The hard way. PS: While deciding, thinking and writing, having seen the movie 3/three times

... 'All that Heaven Allows' 2002 with Julianne More and Denis Quaid. The same director: focused homosexuality and the attitude towards the 'black' in the fifties.

The Seagull's Laughter (2001)

Freya: "watever..."

[10/10 · 18 December 2015]

Her revenging return focuses not a few. Well planned but open to change the manuscript she designed abroad - in America. The fat "pummelige" duck has changed to a beautiful swan, knowing well what she was then and what she is today. No pity but justice and cold blooded following the manuscript. Never forgetting what happened then, yesterday and knowing what to do today. In the manuscript is the marriage to him, punishing whenever he doesn't do what he must, has to do. And when all is done - he is not needed and taken care - as, we only can guess, this American husband - of her. Many women and a few men. Either alcoholics, old or just dumb and silly. Whoever is mean to his wife, to women - has to pay. Freya is in the northern mythology the goddess of love and justice. Mythical. As her. Nobody, especially the mother of her husband, gets away unpunished. The weak, as the disabled in the family, can be assured of her justified help. But does she not understand that the love letters she receives and sends are doctored by Agda and her friend. Or does she know it, well aware that these letters help her to get what she wants? And, finally, is all this only the fantasy of a girl that leaves childhood and growing into the sphere of adolescence?

Párpados azules (2007)

Victor Mina: "Who are you ...

[8/10 · 18 December 2015]

.... tell me who you are?" And the help freeing the birds: "It does not want to fly" and the old lady: "Then you have to make it to fly." One after one the cages are opened and the birds helped to fly towards freedom. The birds are a metaphor. The birds in the cages and Marina Farfán who won the competition among many of the staff. For a ten days Playa Salamandra with another person. Everything is free. Her sister wants but can not as she divorces. And not he and not she she contacts. Marina meets by Chance Victor Mina, another loner - and Victor agrees. He is a former schoolmate she can't remember. Both were and still are loners, not looking at or seeing others. Too shy for such an adventure. To know each other before the trip they are together in different settings. A movie, a picnic, a restaurant - followed finally ... by sex.

During a rain shower (the car gets stuck) the final hollywoodian question: "Will you marry me?" - followed by the yes-answer. But what will happen beyond, after the movie? Two people, being so near each other with their awkward shyness. Has their relation a future of reality?

The movies message: two loners, afraid to be among others and with each other, are able not only to socialize but ... like it. Admitting their fault to each other they find a way of acceptance. And: 'cross the line' - as the end tells. Are they cured? No. They have found a way to accept each other with the possibility to live with both of there faults in a daily life.

Everybody is in need of help with the first step. Even those used to it. Believing they manage it alone, Without help. They do not see the need of subtle help. As the caged birds tells: one has to open the cage and take one of the birds and the rest will follow when the first step of help is taken.

Marina, returning from her trip (she decided to went alone, without Victor) is met at the airport by him. With her she has a shell as a gift for him: "It reminded me of you." He could have answered: "It is you, too."

Mr. Jones (1993)

Mr. Jones: "I need my highs."

[7/10 · 22 July 2015]

The movies traditional 'happy end' happens not in the end but is placed in the middle of the movie: Mr. Jones and Libbie fall in love with all what belongs to it. The psychiatrist Libbie Bowen crosses the line, seduced by the 'manic euphoric' (today: 'bipolar') Mr Jones. He pushes himself and the others he encounters, wherever he meets them beyond of beyond. The question is where and when is the healing moment for the person and for the others? Is it when kissing euphoric the girls in the street? Is it the 'consuming' wish to direct the orchestra as one likes Beethoven? when is the too much reached. When is the line crossed of the too-much of no return?

Mr. Jones: "I need my highs." At the mental hospital, he is cared for by the psychiatrist Libbie who finds herself being more than interested in him. Falling for him with: "Eyes wide shut"-open. Aware of what happens is wrong. Is the reason for her 'love fall' the disease (as psychiatrist)or as woman for this 'interesting' man? "Roger Ebert, October 8, 1993, hinted at the same, IMDb.

The similarity: The divorced Wallis Simpson was asked if she was in love with the Duke of Windsor or the man Edward?

We all experience difficulties. For some it develops to a traumatic situation. Ellen Ryan for him when she could not go on with him. As most of us in such a moment, she had not the unlimited strength: "She is dead" he tells Libbie. She searched, found her and talked to her. Married and two children.

To be high up on the roof. At the same time caught by the black nights, haunting him. To say it with J W von Goethe (1749-1832) 'Himmelhoch jauchzend - zu Tode betrübt'. The movie ends 'up there' on the rooftop. Libbie with him on the roof. Against her wish. Called to help. After her mistake she resigned. What is illness: "You are not sick, you have a sickness." Focused like this medicine can be a help. Mr Jones: "I am not ill. I am like this."

How does it end? Who takes the first step? Absolutely not Mr Jones as he thrives with these kind of games. She. Her responsibility. As staff falling in love with a patient and crossing the line as (they) she did is not only wrong but a case for the police. Libbie knows it, taking the consequences.

"I want to fly but I can't", he says. "Now you know" answers Libbie and he: "What do we now?" "A cup of coffee, defrag coffee" is her answer on top of the roof.

What will happen after the coffee and beyond the movie How will it be when Mr. Jones needs now and then to be on top. Can the psychiatrist Libbie be at his side - be and give the support he needs? And of course what they are for each other as man and woman?

In 'between' are seen other cases. One free-will-case ends tragic. Against the staffs advice a female patient is released home with her parents. Committed soon at home suicide.

Return to Zero (2014)

The loss of possibilities ...

[10/10 · 7 June 2015]

... of what could have been." Perhaps the most important what is said (based on the true story, the directors, his script, his experience) by the mother who never told it to anyone but now to her distressed daughter. Return to Zero is about loss: return to nothing, to the beginning. What to do. How to cope with it. With a loss. Not once but more than: ... miss carriage. How does people react. However and how: it is wrong. Even the silence. The gaze that quickly turns away. The Governor's female lead is here also the lead: Minnie Driver. When difficulties come the man falls for Another woman. She is not alone with her miss carriage. Maggies mother and many others where and are in 'same boat' - her mother. Nnever told. And the doctor: lost a part of herself that day and the reason to be a doctor. What the miss carriage taught her: to be thankful for what has happened, an experience not many parents are near to.

Celebrating Thanksgiving with the parents and the traditional wishes: and Maggies wish not to Life but grateful to death.

And Maggies wish of divorce, a thought that Aaron is not able to accept but accepting for now a separation.

But then the miracle. Pregnant: the gift of Christmas eve. And again a miscarriage. But the hour together with the stillborn is a memorable moment, unable to forget. "I am afraid, afraid of everything" Maggi says.

Then again pregnant: "I am pregnant" she tell her mother. And her mother: "I lost a baby, too. A year before you. It is a loss and it hurts. It is not the loss of a child. It is the loss av a possibility of what could have been." The pregnancy units the separated parents again. A girl that survives and lives. The mother is not happy, not sad, fell nothing: "I am a bad mother." The doctor understands: "I know. After what you have gone through." The day after Maggie tells of Arthur to her baby girl: "Hello, I am you mother. Difficult, I know. I tell you about a person. His name is Arthur. He is your big brother. He will always be with you. He will see that we are together a long time. Dear, you are so lovely."

The after text: In loving memory of Norbert Krekorian Hanish, born 12 July 2005 - the directors son. And: "For more information and for a film discussion guide, visit returntozerothemovie.com", followed by: This film is dedicated in loving memory to: all the stillborn names. Aaron betrays his wife with a woman: a try to cope with his sorrow. The prepared baby room whitewashes. Whatever one does, says: wrong as the snowflake-gift. 1 of 160 stillborn has no one an answer of its reason: for Maggie and Aaron and all the others) no answering help.

The Governess (1998)

Rosina: "Then do not look at me."

[6/10 · 6 May 2015]

Rosina, the child of an Italian-Jewish father and a mother born on the Island of Sky. The warmth of the Sephardic Jewish household of the early 1840's is disturbed by the murder of the da Silva family's father. The headstrong daughter Rosina decides not to marry but seek domestic service. "All I need are a pair of white gloves and some humility and an answer to my advertisement." Her wish of stage acting becomes reality: the stage of the world. Aware that her Jewishness bars the door to any employment Rosina invents the governess Mary Blackchurch, a Protestant whose part-Italian ancestry explains her olive skin.

while Mrs Cavendish lives a life in boredom her husband is absorbed in the pioneering studies of photography. Mysterious study of which the servant Cook says, that it has something to do with capturing the shadows of ghosts. Secretly she enters at night the study, looking around and seeing the box camera at the window and the 'ghost'-pictures. Next morning she positions herself outside the study, photo typed by Charles Cavendish, inviting her to come and join her in his work as assistant – partly released from her normal duties.. But how he tries: the pictures fade and vanish. Mary, following in her room the Jewish traditions, she celebrates Passover: by mistake she spills saltwater on a photo type on her bedside table, wiping it dry.

Next morning she discovers that the picture has not vanished. She rushes to the study and Charles: "It is Salt solution, you clever girl." The mixture of sodium chloride he did not see: "how could I have been so stupid. It was starring me into the face." Rosina, conscious of the males dominance: "You should be proud of what you've done. You've made it possible to capture the essence of people, to fix memory, fix people, … lost people … in one's mind forever." When Rosita suggests after the salted picture discovery again a portrait (she asked before: "Have you ever recorded a photo type of a human face?") he agrees. Eventually both are unable to resist as man and woman; 'devoured' by the eager woman with her answering kiss – and his bad conscience: "How late it is." But too late for both. Charles says: "Your eyes are so huge.You devour me" to which she answers: "Then do not look at me. I've heard it said that the ancient Hebrews used to express love for each other entirely covered." Then: "Do I look different? You showed me how to be an inventor. And now I feel as though I could do anything. I want to understand everything about you. I want, I want to invent a way of fixing this moment for ever." Forgetting what her aunt said to her mother after her fathers death: "You never really know a man's true nature. It is all God's will." Rosina setts the pace, knowing what she wants, knowing a mans true nature – never forgetting the master and who the servant is: "Could we not … could you not", or: "Cavendish method. Cavendish Blackchurch method … or even the Blackchurch Cavendish method." Charles: "Are you trying to overtake me, Miss?" And then the forbidden moment when Rosina goes beyond the point of no return. Charles talks of his mothers and Rositas hair. While fiddling with it he falls asleep and Rosina sees her chance. She undresses him, arranging his left leg – on the developed photo type it is the right leg. Too late she discovers her mistake. Charles is unable to forgive her that she crossed the line. And when the Royal Society's Hewlitt comes, the idea of the salted pictures are his: "Science is not always an entirely rational being. These matters are not always of interest to the ladies." Rosina, hopes to wind back time, humiliates herself: "Charles, I know I have angered you. I know you do not like me to use the camera. Please forgive me. I'm sorry. It was just a gift to show my love. …. And our plans, what about the future? I will, I will not be so demanding. I promise you I won't. I will not talk of love. I will not speak of the future. I promise I will be whatever you want me to be. What do you want me to be? … Forgive me. I beg you, forgive me. I love you." But done is done and no forgiveness. After her halfhearted revenge with his son she leaves for London. Leaving she confronts the family at supper. Dressed in her Jewish outfit, Mrs Cavendish asks: "Have we a Christmas charades?" Rosina gives her the compromising photo type of her naked husband.

Back in London Rosina becomes a well known, unmarried photographers for her own people. One day Charles is her customer, defeated as he is: "I'm in your hands Miss da Silva. Do with me what you will." She: "Could you turn your head a little more into the light? Still for a full minute." And he: "Are we done?" and she: "Yes, Yes, I think so. Quite done. If you leave your address with my sister," leaving him, "the print will be ready within a week." While he in the background he goes she stops. Last scene while working: "I think of Scotland hardly ever at all now. My images are much admired, and I am even to give a lecture at the Royal Society. They say I have captured the beauty of my father's people, and I am glad." Preparing a self portrait, looking into the camera:" My Mary Blackchurch days seem long gone now. I hardly ever think of what might have been, or why he came to find me, or why it is that you love most those who always seem to be turning away from you. Work is a wonderful restorative."

Con el amor no se juega (1991)

Nicolas: "It's all or nothing."

[9/10 · 2 May 2015]

Susana will marry the son of a prominent family in three weeks. With her grandma she bought a mirror which is, returning, put up: "No, grandma, The mirror goes over there. When alone, mirroring herself, she suddenly sees in the mirror a man entering. Taking from a cub board a gun, ready to kill himself. But going towards the mirror he suddenly, looking into the mirror he sees the girl. She rushes downstairs, calling her grandma, telling her that a soldier is about to shoot himself. In the mirror. Grandma, cautious,looks: sees nobody. Only the reflection of the room: "No show, he went away without saying god-by." Scene 2. Night. The soldier tends a lamp to look at the woman on the other side of the mirror. Scene 3. She combs her hair. Two different lamps, her own and in the mirror. With a sheet she hides the mirror. In scene 4 she looks with her fiancé in a book, discovering the mirror man, anti-imperialist army officers who fought under the orders of general Zaragoza in 1862. Scene 5: nervous she wanders back and forth in her room, wondering what is behind the mirror. Pulling away the sheet she reads backward: 'I miss you.' And there he is, asking: "Why have you done this to me?" Three days and nights "... for her heart to soften." Such a strange feeling, between fear and love.

She is frightened: "How can I talk to my own mirror?" But he is no mirror, he is Lieutenant Nicolas de Regulo, son of Lieutenant colonel Blas de Regulo, a member of the honorable Benito Juarez anti-imperialist army, quartered with my battalion in Puebla de Zaragoza, awaiting combat against the invading French." She denies. The mirror she bought is from 1863. Yes, it is this year, he answers.And she: "And this is the year without grace 1990." He surrenders as her prisoner, madly in love with her. Waiting for her each evening. "With a pane of glass between us?" "Worse, with a century between us. ..." After the death of his wife emptiness entered his life, the reason that he wanted to shoot himself. But now: "So voilà mademoiselle, my life is yours." It's like a movie she says, like a fairy tale "I should say." Next scene: she prepares food and wine for two, observed by the worried grandma. "I have a lover, grandma." "A lover before your wedding?" In front-behind the mirror they celebrate: "For the sake of an entrapped love" and she: "For ever and ever" By grandma entering her room, Nicolas quickly hiding, talking of todays wedding rehearsal, Nicolas hears that she is engaged and will marry. Nicolas: "You could have told me." She begs him to return tonight once more. "No, Susana, this is also a war." Next scene: Susana in her wedding dress, Suna like a puppet. They have to hurry. Alfonso waits already at the church.It's like to go for her own execution. She begs them to wait, rushing up the stairs to her room with the mirror: "I'll be back. It won't be a minute." Without seeing him, he packs his things, she talks to him. At least to say good-by. When she writes mirroring the message "I will still be yours", he enters. Talking to him he answers that he is "like in a cage, like some restless savage beast, condemned to seeing you and not having you." He leaves where are no "charmed mirrors that break my heart." She answers thinking of tradition and .... "One must obey one's heart. Nothing else. Love doesn't do that which is possible, love always does the impossible." She will do it, waiting for him in front of the mirror every night for the rest of my life." "No, Susana! It's all or nothing. Come!" Stretching out his arm, she looks, doing the same, pulling her to him through the mirror.

Grandma calls her: "Susana, girl", entering she looks around: before the mirror the flowers.Taking them and going to the mirror, touching it: "My child"

... we hear the sound of a horse. The closing scene: both on horseback, riding towards ...!?

Saturday Night Thief (1990 TV Movie)

Ana Luisa Guzman: "... not have to look for love, but to find it"

[10/10 · 30 April 2015]

Hugo, a night-guard at a bank brakes on a Saturday night into a house for the money and jewels, discovered by the lonely wife Ana. Pulling his gun he wants the hidden money. Cautious she obeys, both disturbed by the cry of her daughter, both rushing upstairs. While the mother soothes her daughter Hugo makes behind the mother funny faces that the child smiles. In the kitchen Hugo, hungry, starts preparing a meal, later chilaquiles (the Mexican traditional dish) for them both. When hearing who she is he forgets the gun and everything else, moves beside her, ... asking about her radio program. "Go away, you came to steal not to stay" she says. But Paula wants more, showing her mother that he "fixed my teddy bear." Then the door bell and back is the gun. The neighbor. Hugo: "By the window, tell them you can't open." Ana speaks with Milly; on the floor beside her her daughter with Hugo and the gun. Milly knows that the husband is away, comforting her. Later he whistles the 'danzon' she played last week in her program, sometimes dancing for herself. Hugo: "That's a sin, the 'danzon' is to be danced with a partner." "Yes, but not everyone knows how to dance that music." And she: "It's funny there are things we always want to do and only God knows why we don't do them." Then it is time to leave: "Anything else?" "The sugar bowl, you know, it was my mother's".

Next morning at her work: "Did you dance? I hope you did, but with a partner because dancing alone is a sin. That is what someone whom I'll never forget told me. Dear friend, thank you for telling me that. Thank you for telling me that one does not have to look for love, but to find it. It's time to finish. Any plans for this weekend? Some will go out on holiday, some on business like always. I'll stay at home ... alone ... with a bolero. I will not lock the door on Saturday night ... in case someone wants to come to dance with me. Finally, the only one thing he could steal would be my heart.

How many have listened and will visit her?

(Hugo: Damian Alcazar,Ana: Blanca Guerra)

The Adjustment Bureau (2011)

"behind the fabric of reality"

[10/10 · 26 April 2015]

The movie has at IMDb 389 reviews and 402 critics. When in daily life do we decide by free will? Choosing left, right, forward or back? That David sees "behind the fabric of reality" was a mistake:"You have the appearance of free will." By this mistake he and Elise choose by free will what they want. Without helping aids (here the hat and the door) As they believe they met by mistake, Elise and David: but not. They just continue earlier events. Is this still 'free will'? By crossing the line we see behind and act accordingly. Even them,chasing David and Elise, have not the whole Picture. Only parts and must accept what He/She says according what is said above them. When can I come behind the agents of Fate. And when have I my own (free) will? The agents of Fate try to stop David. Without success. They try to get him back on line, following his fate as the book says. He does not. Even that his and her career is the bargain. The ending Words: Take your fate in your own hands. And pay. Then the Charlies, Harrys and Richardsons are not needed as we do it now: "Most people live life on the path we set for them, too afraid to explore any other. But once in a while people like you come along who knock down all the obstacles we put in your way. People who realize freewill is a gift that you'll never know how to use until you fight for it. I think that's the chairman's real plan. That maybe one day, we won't write the plan, you will." The Swedish writer Elisabet Nemert has love and hate in her books but love must always win. So here: all the obstacles are thrown in their way is not to harm David and Elise but take them, decide without listening what they are told. These tales, these obstacles are in front of us to be taken and not them, taking us. First a few. Then more and more and still more until each one designs his/her own book. Coming home from work I saw the weekly newspaper DIE ZEIT had come. I grabbed it and returned in the same moment to catch the incoming buss. Passing the shopping center towards the library where the newspaper should be delivered, I heard her familiar voice:'Hello Stephan'. I turned and we had a short chat. What could have happened if I had left my bag, waited for the next buss and, consequently, missed her. Or, turning while going on, a short hello. Doing what David and Elise did, taking in their hand their Owe destiny. Facing brave and confident the obstacles.

Daily we have the possibilities to rewrite, to change destiny with what we, not them want. What we actually should do.

Lille soldat (2008)

Fischer: "Ready to change the world?"

[8/10 · 10 January 2015]

Is it possible to do something good for the other? Save the world: the leading question Fischer asks the disillusioned Lotte. Returned from war. Is it really for the other/s or actually for herself? Does she feel better as soldier in Afghanistan? She tells Lucy that she "made a mistake." Lotte sees that her father runs an escort service. His favorite is his stand-in-daughter. The Nigerian Lily. Lotte has to work and her father needs a driver. Until he found a male driver she helps him. She has to drive Lily to her daytime-escort-visits. L&L discover similarities in what they did, do and are. Lottes father has diabetes and forgets sometimes to take is medicine. In case something serious happens with him she gets the code for the safe, 23-24-48, where the girls passport and money is. A relation develops between the escort Lilly and the driver Lotte. Can you do something good for a person. Even if the receiver rejects the offer? Lotte has her second chance to do something good. As she has access to the safe she takes Lilys passport and money. She calls Lily to meet her at the hotel and tells her to change clothes, pack and go home:"You are free now. Get dressed. I call otherwise the police. Tell them what you do here. They send you back without money. I do it." Lotte knows of Lilys son and mother supporting them. Lotte gives her the money, enough to buy her free from the Nigerian madam and enough for her mother and son. Lily: "Don't do this. Fix your own life." She tells that her father is good to her. Both have seen how he treats the other girls. Even the 'kind' Henning, their best costumer, is not kind. Lotte beats him, taking the unconscious to her apartment. But instead to be happy is Lucy angry.Waking up in Lottes bed: "It is my money for my daughter you have taken. How dare you." Lotte sees her to the airport. The small business plane heads for London from where she can reach Nigeria. The furious father tells his daughter that Lily stays in London or Rome, whatever and starts with the money her own business. If Lotte has thought of this or not? She did it for Lily. And Lily has her passport and money. Her freedom. As free person her own choice: either stay or return home. Or fetch from Nigeria her mother and son. The movie ends that her father must punish her. His daughter. Fathers have this right. He tells his helpers to do it. But the daughter wants her father do it. First he listens not to her demand. But she repeats the demand again and again until he does it. Bleeding she leaves him. It is possible to do something good for another. If you are ready to go all the way. What happens in this movie A side effect. Mainly it is for your own good that you feel better. As Lily asked her during the three hours brake:"So why soldier?" is answered with: "To do something good." "Do soldiers good things?" asks Lily and gets the answer: "Yes, sometimes." And Lily asks: "You killed many people?" is answered with: "What about your daughter?"

Life as We Know It (2010)

Holly "... if you promise ...

[7/10 · 23 November 2014]

... I never have to see him again." Before the starting credits roll the introduction. A by their friends arranged blind date for Holly and Eric Messer that stops before it starts in Hollys small car. Both despise each other, angry that they agreed to this blind date. Not love at first sight, a movie title, but disdain at first sight: following the curve of Hollywood. The triad of forced togetherness, subtle interest, transformation to - what else: love. Predictable. Only the details are different. Always different?

Not new either: a baby child is the reason of their warlike struggle. The child's parents die in a car accident and Holly and Eric are, without knowing it, as their friends will says, appointed to be Sophies guardians. For the child's sake they have to move into their house. Pure disgust that transforms according the credo of Hollywood to acceptance and, what else: eventually love. Can it be worse and bad as it starts. Hardly. The only way is not downward but the turn upwards. Eventually both realize not only to look but see each other what is behind. Not only look but see each other. Behind society, behind the family and our pretending: behind these obstacles is the real Holly and Eric. So much more interesting that love is as possibility possible. Did their friend know this, chosen them for their task? Of course had Sophie's parents not in mind their love affair. This they had to take care themselves.

Why all these predictable films? We know what happens and how it ends, slightly different in each movie. Mirroring and recognized by looking. Seldom seeing us as we know what happens and how it ends. Hollywoods contract.

The first date - disdain, not love at first sight. Then the working-through to come behind the fence where it is I myself. Then, when everything is done and the shining prince on his white horse is ready to come: the happy ending reward. After the 115 minutes we return to daily life. Some ten minutes before everything seems to go the wrong way with the stand-in-hero Sam (it is calculated: the last tension everything before the real happy end; he appeared before the starting credits.

The title 'Life as we know it' is what the movie wants. Nothing special and predictable. The daily life for us and nothing else.

Angel & Tony (2010)

Yohan: "Does clams bite?"

[7/10 · 15 November 2014]

Angèle is a young woman, trying to renew contact with her son, living with his grandparents. She is, after serving some years in prison, conscious of the difficulty to be a mother. A good mother. She is the reason for her husbands death. But, as she says: an accident. With her not easy background she meets the shy fisherman Tony to work for him (in mind a marriage that makes possible to get her child - be near him. The grandparents have the custody. Her son, having not seen his mother during prison-time is cautious. Angèle must prove the judge in charge of her case her capability as a mother and married woman. Angèle's background, the shy Tony, his suspicious mother and her sons grandparents are serious difficulties waiting for her to take. But: now and then polarities are not a hinder but the help as only way of understanding when nothing is left and the base for marriage. Yohan asks Tony if muscles bites. The answer: the three drive to the beach for the answer of the boy's question. His question can be regarded as metaphor. Both Angèle and Tony are closed as clams. But sometimes: if time and space permits polarities to decide can polarities be of help for each other. Clams do not bite

Cheerful Weather for the Wedding (2012)

"Circumstances, you see"

[8/10 · 26 October 2014]

"If ..." is the leading word for this movie. But, beside 'if' Dolly was not sent to Albania and it did not happen. The flash backs tells the why's.

What is not told is subtle between the lines: Dolly seems to be pregnant and is married with haste to the stand-in Tom Owen. But why invited Dolly Joseph, her summery adventure? He is not told of her assumed pregnancy and unable to do what a noble and gentle English should have done. But "time and tide waits not" is said and the blind servant, passing the glasshouse, sees everything. Joseph and Dolly where inseparable just past summer, up until he left for Greece. Tom Owen is in this British Victorian "Downton Abbey" of 1932 Josephs stand-in as second choice. Everybody is happy to take their part in this staged unhappy happiness.

"Are you?" "If you know it, it's too late" is said. The title "Cheerful Weather" focuses the sunny weather, but everything else is far beyond sunny cheerfulness. Has the stand-in Tom a deal? As in "The Day after the Fair". The pregnant illiterate maid Anna, helped by her mistress with the letter-writing to her lover she met at Salsbury fair. The cheated barrister accepts to marry Annas body, telling upper class Edith, the author of the letters: "Legally I marry Anna, in my heart I marry you."

"Do you feel less happy if you know you are happy?" is asked. "I 'wish' you could give me a reason to come with you." And the warning: "Be careful what you wish." No reason to run away. Tradition is stronger. Why invited Dolly her summer love to her wedding and does not see him? She upstairs. He downstairs. Neither she goes downstairs or he upstairs before it is too late and jump the fence of tradition. Waiting for the other to take the jump: unaware that nobody can take the decision to jump for the other. They see each other. Downstairs. In time or too late? Ready for the run?

Used to traditional happy ends - actually here: no happy end. We wait as we are used but it does not happen. Unable to witness the act in church he stays at him: should have been his wedding. But "circumstances intervene." But beyond circumstances and what is called destiny? Beyond tradition. Was this the reason that he was invited, waiting for him upstairs. Ready for the run.

Black Butterflies (2011)

Ingrid Jonkers: "Because I do."

[10/10 · 19 April 2014]

The undeniable fact: we are born by parents. To be an individual: our responsible is to discard the parental form and replace our own. What we want to be and are. Guided by our very own ideas as model. Few reach this goal. A copy of what should be discarded. Not many manage and resume as copy their life. Among the not many is the life of Karin Jonkers. The fathers denial of his daughter, himself not only a writer but also a politician, made public in his speech his denial. The ultimate proof that both are individuals. Upright.

Accepting the consequences. In public for all those cowards who choose the broad side of life. Like this his comment of her suicide has to be not only looked at but seen, reportedly he said: "They can throw her back in the sea for all I care." We have to, must as child of our parents discard the form we received at birth. By birth she was destined upper-class. Many are, growing up, revolutionary, sinking back into the comfortable frame of life. Even she. As it seemed. But consequently her loyalty was her own, focused on the South African questions many looked at, denying to see. Not caring what whoever told her to do: her divorced husband her lovers, her friend Jack Cope, himself a writer who always was there when needed. Nelson Mandela read her poem, "Die kind (wat doodgeskiet is deur soldate by Nyanga)" ("The child (who was shot dead by soldiers at Nyanga)"), in Afrikaans, during his address at the opening of the first democratically elected parliament on 24 May 1994.

Ingrid Jonkers was homeless and in need of love. Apartheid, her father responsible for censorship was her enemy. Neither Jack Cope and Andre Brink helped or could help. She had to manage it alone. She was loved and loved but homeless.

As it happened with the New Zealands poet and writer Janet Frame, also Ingrid Jonkers was periodical in a mental hospital: sent by her father! ...

She and a few others home is the fringe of, what generally is called madness. But here, as society's fools, poetry and real life is the only true possibility. She is sane and insane. Not either-or but proofs that both is possible - as long as everything is given and nothing to loose and be taken.

Love Is All You Need (2012)

Philip: "I am not looking"

[6/10 · 2 January 2014]

This sweet comedy shows when everything has happened that should not happen happens. Surgery and chemotherapy for breast cancer, her husband with a much younger work colleague on their sofa. Ida travels without her husband to Italy to their daughter's wedding in Sorrento. At the airport in the parking area she backs in to Philips car. Philip, movie-coincidence, is the father to the boy her daughter will marry. Of course and what else. After the arrival, with Philip on their way to their children she has to listen how he treats his staff ("I pay them") bluntly telling him in the taxi that she dislikes him. What else: the movie follows the well known scheme. In a touching monologue in front of everybody her daughter calls off the wedding. The call-off is the cover-up for the real romance and the real 'happy end': the between-the-lines-romance of her mother and the widowed father.

Back home where life goes on ... until Philip comes to the hair salon for a haircut the expert she is, talked of he needs. But it is her he needs. But: too early. First other things has to happen. She has to take care of. One: her unfaithful husband. This husband that appeared at their daughters wedding with his latest love affair. Not only 'Love is all we need', the English title: but more.

The movies centerpiece is the scene at the beach. She swims. Without clothes and wig, lying there in the sand: naked and bald. Discovering what she does Charles rushes down to warn her of the dangerous undercurrents in the water. Coming out of the water, she: "Don't look" and he: "I am not looking. Take your clothes on". He does not look. But what he does is he sees! Beyond her nakedness, beyond her baldness. The 'skaldede frisør', she is. Seeing her what and as she is. Beyond.

The reason for their happy ending. Not in the hair salon. He tried but came too early for a haircut he does not need. First she must take care with the business with her husband. First then, later and now she comes and asks him to open the answer from the hospital and read it to her. By looking at her and his eyes we 'see' what the letter says without hearing him reading the letter: their second Chance.

new years eve 2013, for Clemencia

Nowhere in Africa (2001)

Jettel: I'm afraid of those people, not you?

[8/10 · 24 November 2013]

Jettel: I'm afraid of those people, not you? The movie, based on Jettel daughter Reginas book with the same title and screened November 11 2013 by Stockholms Goetheinstituts film club. Not all Jews translated early the German brown years signals. Those who could afford it financially or with their will to find ways and means to leave Germany: they did it. Some early, some later and some, as Walter Redlichs upper-class wife with her daughter the last minute; leaving behind the parents. His father believed: this will be over after at least two years. But Walter saw the signals early, leaving Germany for Kenya. For Jettel, used to upper class life the adjustment to her new life is difficult. Instead a refrigerator, she buys a ballroom gown. She wants to return to Germany. But her husband, knowing what is going on in Germany, tells her that she is lucky to have her life. For his and her parents it meant Auschwitz. Realizing the truth she accepts Nowhere and fills it with meaning. More than her husband, asked 1948 to return and be a judge. Now it is she who wants to stay. By own strength and struggle she formed their new life. The marriage is shaky and the reason that other men fill the gap: the neighbor Suesskind and the English officer, offering his help when she and if ... Afterwards it will be criticized. Times of no-where ("Nowhere" in the literary sense can mean "utopia", no- or good place) forces decisions that in normal times never should be an issue to discuss. They have their own law. For their daughter everything is an adventure. Quickly she adjusts, getting friends. Especially the friendship with the cook Owuor who tells the white Jettel: "I'm a cook. Cooks don't dig in the ground and men don't carry water." Jettel tells him, if he wants to speak to her, he must speak German. German she is, does exactly what the Germans did to her before the move to Kenya. But the cook accepts and carries water, laughed at by the others. Eventually Jettel learns by her mistakes to do better. Learns what tolerance is and should not be.

The fugitives where outsiders: white, Germans and - Jews. 1948 is Walter offered to return to Germany as judge in Frankfurt. He tells his daughter and his wife answers: "I am afraid of those people, not you?" Yes, he answers but he wants to be in the front line with the others to give Germany a fresh chance. For Jettel, the new country accepted by trial and error: she has to return to Germany. This country that send his and her husbands parents to Auschwitz. Even them if they had stayed. Her daughter asks why the Jews are so different: "Mother, why are the Jews hated? I mean. You and father are not really Jewish." The mother answers that they never felt Jewish, as aunt Käthe. They where more German as the Germans, seeing for tea their friends at Café Mohnheim in Breslau. Tolerance. What Jettel has learned in Kenya: differences are important: "Tolerance doesn't mean that everyone is the same. That'd be stupid. What I've learned here is how valuable differences are. Differences are good. And intelligent people will never hold it against you." Walters accepts the return to Germany: giving Germany a new chance. He is one of many (when it was clear that Germany looses the war the re-educational movies where USA-prepared). 2001, the same year the movie was screened, it was clear that the Germans had not taken their chance (perhaps one, but two are still Nazis, as Jettel says, and three still want 'Lebensraum', using their German 'Ton'). The female director wrote the script as a reminder, using Reginas book.

The Reunion (2013)

Anders: "This is a party"

[10/10 · 15 November 2013]

Anna Odells first movie 'The Reunion' goes up today, 15 November 2013. In Sweden. Already she received two awards and more will follow. But she will have to pay for this controversially (the ambivalent reactions waiting around the corner) film: in focus her experience in school. Uninvited she comes (too late) to the party of reunion. The one who arranged welcomes everybody: "Great that so many have come. Cheers!" Anna interrupts: reminding them all what they did to her and with her. She was the Nobody and had to be. In every group is a container for the bad things: "A daily battle. Not revenge but to tell today what I could not tell yesterday. I was the one who was pushed, beaten, laughed at, not looked at and not seen." And it happens again: interrupted in her speech. The same for the No-body today. Chaos.

She is by far not alone with this experience, called mobbing. Yesterday, today, Tmorrow. Many of us have to live with it, unable to defend us. Laughed at. Unseen. The object for shame. Not one of the crowd Not In- but Out-side, beside the group. Qietly suffering for what they are and never can be. How react? As Anna Odell? It took courage to come late and cross (not for the first time) the forbidden line everybody accepts and respects? Today not as art performance but the actor and director.

The setup are two parts, the second as documentary. When she planned the idea, she asked her former class if they want to take 'their' part in this reality-movie. They denied. Of course. Actors took their place. How will the real people of her class from yesterday, today adults, react that actors took their part? To be in public forced to look into the mirror is everything but not easy. For Anna Odell it does not matter, what ever the reactions. The Nobody she is for them. She has nothing to loose.

The movie reminds not only of the speech in the Danish Dogma 1 movie 'The Celebration', 1998, Thomas Vinterberg but also of Gina's speech in The Girl in the Café, 2005. Even them had nothing to loose, knowing what happens after their speech.

Change? Nothing will change. For many this (in front) mirror can be a reminder of our society: in school and today at work. Change? Perhaps by small islands. Those small islands amidst of the daily battle, that Slavoj Zizek describes as 'spaces'. Not left-right, black-white but by the unrecognized and unseen 'Between' as possibility: our responsibility. ............... ...............................

Return 2014-10-11 Som years have passed. At that time I hired the movie, keen to see it as it washighlighted by many and in the media. Now I bought the DVD to see itnot in a haste. I even re saw again Thomas Vinterbergs 'TheCelebration'. I still believe that this movie is so much better, sorough and true as Anna Odells, she must have seen it, bleak copy. Shewanted and pulled back.

BUT: the reason why i return: she should have had the courage to go beyond. More. Out to infinity and return on the other side. THEN most of us should have be happy. More. With this action she could have handled a for us important issue different. Objectivly "and" personally. She asked her former class to take their part. They refused. Actors took their part. I wondered if some of them made a police issue of it as they all where drawn into the light. But it did not happen. Why? Answer 1. They where afraid that more by a trial should surface Answer 2. They did not care

Cairo Time (2009)

Juliette Grant: "I am happy that I waited"

[6/10 · 9 November 2013]

The red threat of this movie is known: some Thursday's in 'Brief Encounter', some days in 'The Bridges in Madison County'. If something in a marriage is vulnerable and has to be repaired before the unrepairable option of divorce: here is an example to repair before ... . The middle-aged Juliette visits her husband (away on UN-mission) in Cairo. Instead her husband, the Muslim Tarik welcomes her at the airport. As the film moves forward Juliette is tempted by the low keyed politeness of this man. Occasionally her husband phones, the wife begging her husband to come. She wanders alone the streets of Cairo, followed by men. After this Tarik is he her 'bodyguard'. The space her absent husband created is taken by Tarik. Nothing and everything happens between the female Christian and the male Muslim. The subtle affection develops towards the moment when she asks him to her room for tea. The movement of their body language (her hesitating preparation of the tea and him: first on the balcony - then in front of her, engulfed by the films most intense moment). She: "Come." They do what she told everybody: that she will climb the Pyramids with her husband. Now it is Tarik. The gentle gentleman he is, takes off his jacket for her to sit on.

In Europe the metaphor of the tower is phallic symbolism. Here it is the pyramid. Like this she, the tourist in a foreign country, handles their feelings: climbing together the phallic pyramid-tower. Before she does it with her husband. Nothing but everything happens. Differently. The 'betrayed' husband was too sure of his wife and friend - leaving his space as husband empty. Returning to the hotel after their 'infidelity', Mark waits. An awkward situation as nothing but unseen for him, everything has happened. When she prepared the tea: the moment that affection crossed the line. The movie ends, the camera following husband and wife approaching the Pyramids. The husband, the second choice, unaware that the privilege had been given by him to the other.

But. Was Taric no the medicine for husband and wife, now and then needed to renew a marriage, taking care of subtle flaws as it happened those Thursday's and the week. Again to see the other and not only look. Husband and wife entering the elevator, before the door closes, she looks at Taric, seeing him: "I am happy that I waited." Unaware of all this: the wife's husband, the boy Mark, sure of his wife. Too sure.