The director spends time with her dying mother in the company of her grandmother. Sometimes she goes to visit her brother in the neighbourhood. The subtle representation of the dying process is captured as a family event. Being present at the death of a loved one belongs to the life of a family, which is one part of a much higher organism. _ This illuminated video-haiku responds clearly to the ethical issues connected with recording the death of a person. At the same time it is more than just a family journal, as through its images it gives thought to what it is witnessing. Individual scenes are divided by white images. In the film's closing the white vacancy is prolonged, representing the mother's death and the director's grief. Death signifies the fading image, as there is no longer a face to give it meaning. _ The filmmaker's presence is very discreet, we can hear her voice, calm and full of feeling. She only once speaks sharply and strictly, when a child is crawling over the body of the woman prepared for the funeral ceremony. _ The camera is part of the hand that, when necessary, has to provide assistance - at that moment the image ceases to exist. Thus the camera is never an intruder or a cold eye. It is part of the help, an ongoing album, and the mediator of feeling. _ In one interview the director said that she wanted to shoot the film with the feeling of skin. The film's poetic tissue allows viewers to become part of this experience, which transcends the border between body and film.
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