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Julie, the main character, is living in a failed relationship with a Biologist dad in an apartment in America.

When her son Nicholas has terminal cancer. She finds herself going to the other extreme, which is contrary to her beliefs and her enlightened worldview, in search of hope for him, when she meets a Polish therapist with special powers.

The story is quite consistent, and believable in a certain way. The characters' acting is great. The music is the Achilles' heel of the film. It is oppressive, and takes over the entire film.

It could say that the film is about a family that undergoes a change in the dynamics surrounding Nicholas' illness, and that the illness is the cause of the healing that the family needed.

The film also made me think about the role of faith - what is faith? Is it prejudice? Is it a person's helplessness in the face of their ability to control their destiny and the need for a certain attachment? Or is it actually the agreement to surrender and let go? Is faith the complete opposite of science, or are they simply two different ways of organizing reality, and does science merely prove faith?

In conclusion: Worth watching but long and tedious.

A wonderful film, succeeding in its sensitivity and deep recognition of the nuances of the world in which the plot takes place in conveying the conflict of a person of who deal with faith, and determenition in a Ashcenazi religious framework.

The student's desire to succeed and advance and demand the highest quality educational institution for him - in this case, a yeshiva of ultra-Orthodox Ashkenazim. When his mobility to move forward is determined by predetermined barriers.

Because of his sectarian origin.

The same conflict creates processes in the boy's family. And asks questions about education, relationship and identity.

Should a person accept the circumstances of his life and reconcile with them and try to improve his status from them, or should he refuse to cooperate with the oppressive, conservative, and discriminatory factors in society.

It's a universal story that asks if man has a choice or is he stuck in a deterministic world.

The play of the characters is wonderful, surprising and free of clichés. The end of the film manages to produce catharsis in the viewer.

And in all the cinematic parameters of shooting, editing, scripting and directing, the language is meticulous and coherent.

In the opulent mansion of an oil tycoon, an alluring secretary, a charismatic geologist, and the landlord's two troubled children-an alcoholic and a nymphomaniac-find themselves entangled in a web of ambition, desire, and disillusionment.

The film masterfully captures the irony of unfulfilled dreams, where no one attains what they yearn for, and each character is ensnared by the illusions they so desperately chase. Its screenplay is sharp and meticulously crafted, culminating in an ending as unexpected as it is poignant, showcasing human frailty in its rawest form.

This is a story about the capriciousness of fate-a tale of a powerful patriarch, his wayward offspring, and a pair of employees who, under the guise of loyalty to their employer (Jasper Hadley), manipulate the hierarchy to dominate the familial territory. A paragon of screenwriting excellence, the film is elevated further by its evocative soundtrack, making it a timeless exploration of human flaws and ironic twists.