Sabrás qué hacer conmigo

It was an interesting movie. My boyfriend kept asking me which country this movie was from. I kept telling him it was happening in Mexico and this was a Mexican movie. However, my boyfriend was telling me that Nicolas did not have Mexican accent. I did not recognize accents. I looked up where Pablo Derqui was from and he was Spain not Mexico.

I wonder why Nicolas kept doing things he was not supposed to do like driving and scuba diving. At the end, I thought he wanted to end his life because he could not take his hopelessness anymore to live with his epilepsy and terminal treatments his doctor suggested. However, I thought Mexico was a heavy Catholic country, so I wonder the ending meant to be suicide or something else.

It took very long to figure out what was happening at the beginning. The memory scenes were confusing, too long, and too repetitive. The whole structure of the movies could have done better, but the story itself was interesting if the theme was assisted suicide. Was the side story of Isabel's mother's suicide leading to Nicolas suicide? However, I cannot believe such a young person commit suicide just for epilepsy which millions of people are suffered from all over the world.

Sabrás qué hacer conmigo presents some quite elevated standards for an independent production, for any production really.The theme is not very mainstream and tone sets itself apart from other commercial Mexican productions that have been a trend in the last couple years. The photography and cinematography are beautifully made and the sound effects provide depth and immersion for the public. However, in substance, the script and the story itself are far from perfect, instead i found myself thinking is this a story worth telling? does it make up for its beautiful scenery? It presents different points of views, so its interesting to see the story from both sides and then evolve into a shared space, but i wonder what it adds in the sake of storytelling. At the very end, the film becomes confusing, diffuse and weirdly timed. I think the director does have potential and could provide something really good if she worked a better story.

The director told us she brought in screenwriters to doctor her heartfelt script referencing experience with an epileptic friend. I fear they did more harm than good. We're all familiar with the structure that divides a film into parts, each headed with a different third-person-limited POV character's name. Here first we get his, in which they meet not so much cute as mystery-woman mysterious. Then we get hers in which she turns out to be quite ordinary, flashing back to cover the same events as in his chapter. Not Rashomon, no conflict, just different POV. Each of these initial parts ends with his fit which he hadn't anticipated and she doesn't understand until she does. As we enter the film's third section in which, for a while, as he regains normalcy, there's a crescendo of POVs, hers and his simultaneously, that had me thinking I'd really like the film. I wanted that crescendo to extend as long as possible. But, no. It becomes her as sympathetic onlooker, him as cause epileptic. She or her script doctors should have stayed in his head much longer than they do, even if doing so would have meant inventing what's there. I'm confident that if she had, what she invented would have been true enough.

All that said, parts are very powerful and the water imagery much appreciated.