Two oranges for restless showers The old man is usually respected. Almost always, especially if he's sane, he lives alone and does things that no one else in the neighborhood can do. For example, this Old Man communicates with the souls of the dead, as all locals know.
Careful attitude to the body of the deceased inspires confidence in the Old Man. She died strangely, given the blood-drenched floor, perhaps slit her veins in despair: her daughter had not come to her for a long time, and work in the store took all her strength.
Matty Do was born in Los Angeles to a Lao family of refugees, but left for her historic homeland to shoot such cold-hearted and mentally straining films as The Long Walk. In which the Old Man begins his walk, having buried the manager of the store, and literally for the next few days / months he lives one, two, three, and possibly thousands of lives. There is no time in this film, and what seems like a time loop to us accustomed to Western fiction turns out to be no more than a point on a country road reclaimed from the jungle in a remote province of a distant Asian country.
At this point, time has stopped, and the change of cash to non-cash payment from a card, and then to non-cash payment from a chip sewn under the skin is the only but meaningless gust of the wind of time, frozen in a tropical climate, always ready to kill your labors with knots of lianas from the ever-dark green jungle and accelerate the decomposition of any minute ago of a still living body. At this point, time stood still, and before the viewer there are only two ages in which such fading is habitual – the Boy surrounded by eternal parents for him and the Old Man surrounded by eternal souls for him. The soul of those who have experienced physical pain near him before, and therefore stays with him forever. At this point, the fading of time as the shadow of eternity meets its opposite – the moment of dying as an explosion of temporal matter, from where the main conflict of the plot originates.
Matty Doe said that the moment of her mother’s death was very difficult – she had never heard the sound of a real last breath in a movie before, more like a creepy wheezing. These sounds in the dying scenes she brought to the film. The Dying Girl held by the hand by the Boy is a constant in this film. His soul will remain with him forever. She literally became attached to the Boy. Like a dumb little sister? Like a maid? Laos is Buddhism, where desire is the cause of suffering. The boy, looking at the girl, it seems that the dead are no longer suffering. This idea he quickly took and made the basis of his life.
They are well and calm, they stand far away in the thickets and look at me, thinks the Old Man. They are always silent, and therefore the Old Man is calm, just as a worker who has done a good job is calm. He will cling to the calmness of the dead, even when the cold hand clings to his warm wrist. Even then, he will not be able to recognize behind the mask of calm the love for the defenseless Boy, like the mother, who is able to hide behind this mask any offenses and insults from her unreasonable child.
Sometimes someone else hides behind the image of the wise Old Man. He decided to appropriate eternity as a maid, forgetting that at the time of his mother's death he lost her. Forgetting that he is not a boy in dead time, but a mortal in the ruthless tropics, trying to dispose of another’s eternity. And this eternity, as a gift, not an appropriated ring from a dead finger, will never wave his hand on a bright sunny day on a country road, holding a sweet orange in his hand. To accept a gift from eternity as a child, or to appropriate it as a spiritually gifted old man? The nameless Boy and the Old Man at the space-time point called "life" are seen as two states of each human soul at our point called Earth.
8 out of 10
Original