There is a special kind of quietness in this film, a kind of subterranean breath that expands and contracts the space in which the characters move. And they move just as slowly and rhythmically as the back hoe that occasionally kicks into life outside the building that serves as a hospital for soldiers under a sort of narcoleptic spell. The borders between life and death come across as quite fluid, and the ease with which the characters navigate between them (this is not a horror film) could serve as a lesson for the posthaste society in which we live.
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