The film looks so simple, and maybe it is somewhat too simple in cinematographic terms, but the story is very carefully built (and faultlessly acted). Just remark how symmetric are the paths of Esma and Pelda in the film: war has left her with a difficult daughter, him with a psychically suffering mother. It is moving just because the heroine (almost) always manages to stay dignified and hide her real feelings from unsympathetic people, and the spectator is engrossed by her slow and difficult acceptance of the need for crying out. I found especially credible Sara and her boyfriend, who show a perfect blend of childishness and pseudo-adult behaviour (when they are alone in Esma's flat they drink wine AND play puzzle). The story is brought by the director to the brink of tragedy and Esma might well end badly at one point or two, but then the plot gently turns a bit and there is no more tragedy that what has already happened during the war and which we sense, rather than see, through Esma's own reactions at scenes recalling her of those times. And the spectator is led to feel with her.
