Enlightenment This movie reminds the edge of Todd Solondz’s “Happiness”, similarly dissecting the state of the Dutch family, whose well-established life and endured relations with the temporary invasion of a stranger are suddenly broken, simultaneously exposing the hidden, sometimes falling literally with real skeletons from the closets of household residents, who are provoked by their behavior by a calm and perfectly well-mannered guest who appeared in the white robes of a saint to reproach them with his unearthly purity.
For some it causes love, for others it causes indignation, but it confuses all, forcing them to act differently in confusion than before, getting rid of habits and tolerance, moving to uncomfortable questions and finding a way out of the overgrown routine that yesterday still dominated them, but now suddenly became unbearable, without revealing the secret of how to be.
The exemplary guest undermines stability, creating a domestic search for change, without which they were fine before. It could be good in the future, if not for the provocative behavior of the alien, leading in each mechanism of critical reassessment of the ordinary, throwing from the gray everyday life in the painful search for a new place for yourself in life and place, in your life, for others.
Combining satirical sharpness and anecdotal humor, the film folds individual psychological portraits, affecting social relations, knocking them out of the usual rhythm of stereotypes, to laugh at, emphasize imperfection, linking it with the imperfection of the comic family.
The night revolution in the life of a ridiculous girl is used, on top of many other things, to symbolize changes in the life of all family members who have lost the inviolability of the former foundations, who have felt in themselves and others another thing that will not allow them to remain the same, no matter how it may seem possible for one of them.