This movie moved gradually, unfolding with precision and overlaying the three stories with care. For quite some time, the stories felt disconnected. The pace was also rather slow but the environments and characters carried me along.
From the offset, the three stories fascinated me. The interconnections, initially unknown, reveal themselves slowly and with meaning. And each period has a different energy, which was intriguing.
The earliest, following an artist in search of his muse, is the most contemplative. Dihlon's observations of the landscape imbues the story with a stillness and yearning truly vivid.
The story set in the 1970s has an eagerness that spills out, likely due to the performance of Aleson and her fervor for life. This youthful need to figure oneself out makes this part especially accessible.
In 2020, the story arrives with a sense of mourning. Loss and grief crystalize within every movement of Jalin's emotional shift. When at last the stories weave together, I was left in tears, feeling the weight of these different people from different eras, all wishing for acceptance, a place where they can feel loved.
As a cisgender queer woman I was moved by this story overall. Feeling displaced from one's own life, balancing romantic love with societal expectation, and finding hope in a path one crafts for oneself are all visceral and tangible ruminations.
