in the audience discussion after the screening of his film in the cinema led gardening, the extremely likeable Denis Côté from what he was getting in filmmaking - namely, about making movies, which arise from their reading. and that in each head again. in another way, because other habits reception aptly evoking fantasies or other ... why his movies are exclusively concerned with the present. No flashbacks, no narrative punch or-volt, dramatic tricks. This logic is inherent in a principled openness - and in all directions: forward and back, open right in the middle episodes. nothing is brought to an end, can be end be brought. nothing is self-explanatory but it is about mood, a setting to move to something, never about anything.
curling in a father give his daughter some 12 years of the setting. they live somewhere in Canada, somewhat away from the resort. on a highway, where cars drive by every now and then. around fields and forests, snow-covered. the father does maintenance work in a bowling hall and a cleaner in a motel. his daughter, he tries to think of the environment largely to far away, so he taught them at home. He speaks of evil out there. One day, the daughter of a pile of corpses in the adjacent forest - after first running away, she goes again to (their) balance, makes friends with them. the father takes on the way home on the street a child who was hit. he brings the car home. when he arrives is to bring this motion died two encounters in the frozen microstructure of father and daughter make things needed to change ...
coté can with the time settings, it has no hurry. Father and daughter walking through the lonely, stormy winter landscape. a police car overtook them slowly, then stops across them before. the policemen, it is strange that both are moving on foot dei - ask them where they are from, where they are traveling, why: on foot? He offers to take it with you the father refuses ... ordinary people, but somehow not ...
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