Où GîT VOTRE SOURIRE ENFOUI?

Like in his film In Vandas Zimmer (In Vanda’s Room), Costa’s camera remains static: Once settled in a certain position he sticks to the chosen frame which has to be both spontaneous and considerate in each and every single situation. Similarly the pre-decision in both films: take a room as basis (make it the centre) and concentrate on the small, little attended acts and actions. It comes as a surprise, however, that both films surface other similarities as well—expressions of irritation or of resentment for instance. This opens, with the power apparently asked for, a door to the trivial and a hidden side of reality can enter the film.