And really, the pardon is a concept which complexity is demonstrated from the same attempt of defining it. This way it was verified during the conversation later(posterior) to the movie. What is to excuse? Does to excuse mean to forget? Evidently not. What does need to excuse? There occurs some interior transformation in whom he(she) asks for the pardon and in whom it(he,she) grants it? In a country where this word has been invoked so often and prostituted some others in simulated processes ...
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...he doubts that it(he,she) us provokes. Particularly, the waves that violently break against the cliff, make us think about the turbulences for which those prominent figures cross in this moment. Of maximum tension, the scene in which the doctor, of knees opposite to the sea, has confessed and the death, as party threatens, seems to hang on his(her,your) head.
Neither Sigourney Weaver's magnificent actions(performances) can pasarse in the paper(role) of Paulina and of Ben Kingsley as the doctor Miranda. So much she(it), with a dramatic but sober action(performance), as him(it), with a coldness that produces shiver, there deliver us a few totally credible prominent figures in his(her,your) complexity.
Finally, Schubert's beautiful quartet that gives name to the movie and that accompanies her permanently, is constituted in important element as backdrop of the events.
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