The idea of the end, a diagnosis of the modern narrative in cinema, inaugurates in the character G.H. a new time, where time and space are out of themselves, outside laws and order, outside the field of the world, out of us.
The experience of passion as a transgressive element makes the old structure of the character and the film itself unsustainable, transforming the narrative into a search for itself between shrapnel, silences, spins, getting out of oneself, and coming back to oneself.
The portrait of Mrs. G.H., drawn in charcoal by the maid Janair in her maid’s room exposes social fissures, moral verdicts, and ancestral civilizations. The flow advances through cinematic narrative genres, which evoke fragments that refer us to a cipher letter. A love letter? A farewell letter from the world? Every passion is a farewell ceremony and at the same time a rebirth.
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