Summary
It has been a long time since I saw a movie (or series) that tackled the well-traveled subject of grief and brotherhood so well. This remarkable film by Federico Godfrid demonstrates once again the power of the image and the ineffable character of emotion, which assails us suddenly and powerfully in several scenes, anticipating any rationalization.
Review
Two young brothers arrive in Pinamar out of season to spread their mother's ashes in the sea and conclude the sale of the family apartment, while they are reunited with Laura, the daughter of the building goalie, a friend from their childhood.
The two brothers couldn't be more different. Pablo, the oldest (Lucas Grandinetti), is quiet, responsible and practical, while Miguel (Agustín Pardella) is outgoing and playful. The counterpoint between the two will be essential for the dynamics of the film.
It has been a long time since I have seen a film that tackles so well the well-traveled subject of grief and brotherly bond, in a world of young people without adults. The screenwriter Lucía Möller has perfectly understood the power of gestures and that relatives should not spend all their time talking about their loss and how they feel about it (as is so common in so many current movies and series) since many times those who do it They do not put it into words. And that it is often external events, large or small, that force them to unleash their dormant mechanisms. On the other hand, the articulation of mourning with fraternal dynamics is exemplary.
Exponent of an almost subgenre, that of the Buenos Aires beaches as a field of rethinking and changes (Bromance, also with Pardella, An Ocean Blue, High Tide), this remarkable film by Federico Godfrid demonstrates once again the power of the image (from the great photography of Fernando Locket) and the ineffable character of emotion, which assails us suddenly and powerfully in several scenes, anticipating any rationalization. This also happens because Pinamar squanders spontaneity (the fruit of careful planning and rehearsals) in the remarkable performances of Grandinetti, Pardella and an endearing Violeta Palukas, whose Laura is a living echo of the past of the brothers now turned woman.
