The script of the film is solid, the space is more conceptual and more detached, and it has become a battleground for all parties. The living seek housing, and the dead seek the grave. The film presents a fusion of documentary style and magical elements, with occasional magical shots. In general, the film creates an independent woman who does not depend on herself and does not endanger herself by recording the daily way, and feminism is about to emerge. At the same time, the film exposes the social scandal of the collusion and monopoly of Brazilian real estate businessmen, the government and the media
.
The content of the film is very close to social reality. The music in the film has become an important narrative thread and highlight, and it also dominates the emotional ups and downs of the film. As Clara lay in her apartment’s ocean-facing hammock, the space was immersed in her music and her memories. At the same time, the banquet scene is also an important element of the series film. With the ebb and flow of the tide across from the Aquarius Mansion, these feasts constitute her fluid desire and life. In this "forced demolition" story, Mendoza is also trying to show how people of different colors and classes coexist. Sonia Bugara's performance is rich in layers, and her flexible performance supports the full weight of the film
.
The film's narrative is calm, restrained, and a little nostalgic. The film's plot develops clearly, as Clara's growing resistance to Diego is recounted while the 60-year-old woman's response to loneliness and the passage of time. The director came up with two impressive erotic scenes, one abruptly interrupted dry wood fire, and the other a good-value call-in service. Although there is no artistic breakthrough, the film is at least solid and stable.
Braga's performance is restrained, but there are still some powerful moments that underscore the character's defiance, especially an outburst near the end of the credits
.
