Blood-Drenched Beard

The script has narrative moments interweaved with contemplative passages, which clearly refers us to a cinematic tradition intrinsically associated with phenomenological-realism. To further clarify my intentions with this script I quote here an example from an author who attempted this manoeuvre: Abbas Kiarostami. The Iranian director is a proponent for a whole school of cinema that dialogues with this particular belief of the cinematographic image as an element that reveals the world’s phenomena through a complex and intricate intertwining between the real and the fictional, and in such a way that one dimension never surpasses the other. I believe that within the tension between documentary and the strength of the fictional dramatic arc resides the strength of the film. While the script describes and documents the customs and surroundings of such a lush and bucolic region through the main character’s contemplative eye and immersing us in a time that is organic to that fishing village, it also presents a strong plot, impeding us to look away until we reach the final scenes, with several powerfully dramatic questions, intensified over the course of the story.