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The Netflix thriller will keep you paralyzed on the couch with your eyes glued to the screen for 92 minutes

Even more vulnerable in early childhood, people depend on specific care to sustain life. Gradually, this tiny, fragile, vulnerable baby gains enough strength and drive to respond to the many interventions of extrauterine life. When he finds himself in this other, much more hostile environment, in which he will have to fight for the attention of the people who gave birth to him, this formed individual understands that he is the smallest part of a larger gnat, a family. It is in turn part of an infinity of sets of similar mechanisms that crescendo from local community to neighborhood, then city, then state, country, until they reach planetary proportions. At this stage, already at a certain age, but still immature to experience all the experiences that define him as a citizen, this man is faced with his absurd inadequacy before the vastness of the world, wonder and despair.

In the opening scene of “O Filho Protegido” (2019), Argentinian director Sebastian Schindel points to the beginning of everything, which is endowed with many complexities. The main characters, painter Lorenzo, is in bed with his wife, Sigrid. Joaquín Furiel’s character, in another furious performance, in his second marriage, tries to rekindle his feelings with the kind of sidekick Heidi Toyin experienced, the equally talented, especially after a troubled divorce. Only sex produces the development of a multitude of sequences; The nature of the sexual act, which is insufficient to sustain the interests of the partners when viewed in isolation, and yet it is necessary to find these points of contact in the wider spheres of shared life, is dangerously suspect. Two people, adults and possessors of will, may give the impression that they are infinitely happy if the physiological fulfillment of love is satisfactory, but they are only allowing themselves to be mistaken for a false and easily disputed idea. . No matter how many times we are interested in someone, we put even a remote possibility of meeting, initially only social, civilly impudent, often conscientious, already aiming to deprive this person of maximum intimacy, that is, sex. Do you already know that the relationship will never develop to a higher level? Just combining this process is undoubtedly a pleasant expediency, but does it have anything to do with happiness? Of course not, not least because making love, loving and being loved, giving and receiving love, necessarily involves going beyond the physical satisfaction of sex. And this is just the beginning.

Adapted by Guillermo Martínez and Leonel D’Agostino’s novel Una Madre Protetora, Martínez explores the detour of Lorenzo and Sigrid’s love affair, which can be extended to anyone who has ever truly fallen in love, based on intensity. This feeling was dominated by the desire to bite the bullet to build a happy family, all that a man could be entitled to, with someone who embodied the nobility of purpose—or at least he dreamed of. He.. Lorenzo is convinced that Sigrid is the woman of his life (although he came to this conclusion with someone else); Sigrid indicates that she feels the same way, but as the story progresses, it becomes clear that her purpose is different, even though it is directly related to her life with the artist. She becomes pregnant and never reveals whether her husband really wants to have a child with her, despite his love and affection. Even before the baby is born, Sigrid, a biologist by training, administers prenatal care herself, administers over-the-counter medications, and follows a supposedly healthy diet without the guidance of qualified professionals. The entrance of Gudrun, a typical German housewife, controlling and shrill, played by Regina Lamm, feeds Sigrid’s psychotic tendencies. Gudrun’s exaggeratedly devoted support of Lorenzo’s wife was the missing spark to ignite the protagonist’s madness, which makes the plot of “O Filho Protegido” a movement similar to that observed in most of the work. Pedro Almodovar. Of course, the filmmaker who has dedicated himself to this topic the most. “Mães Paralelas” (2021) Almodovar, like Schindel, gives motherhood an aura of madness, although in the Spaniard’s work she is dressed normally and acquires the colors that define her films and characterize her as a person who wants. Support the message that no matter how dramatic their mothers’ situations, there is always room for compromise. On the contrary, “O Filho Protegido” really increases the scale of tension between its characters, reasoning that justifies the main turn of the narrative, the moment when Juliet, Lorenzo’s lawyer, played by Martina Guzmán, and her husband Renato, Luciano’s character, appear. Cáceres.

Shindel uses Alejandro Parisov’s editing to jump back and forth in time through mild flashbacks, but which are enough to establish the feature’s central question: Who is right or who is crazy? Guillermo Nieto’s photography, equally exquisite, enhances the primary colors of Lorenzo’s opulent canvases, hinting at a deeper insight into the complexities of his personality. In a highly cryptic ending, it is Guzmán’s character who is confronted with a mystery that hints at an explanation for Sigrid’s imbalance, perhaps the greatest victim of “The Protected Child.”

movie: protected son
Direction: Sebastian Shindel
Year: 2019 year
Gender: Thriller
Note: 9/10

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