Living in the present and dreaming about the future is fine, but unfortunately we depend too much on our past, on the decisions we have made, the good and the bad; of the bonds forged even where we have decided not to exist. As in the small but consistent Canadian movie What’s left of us: between the first and second wife of a man; between the daughter of the first marriage and that of the second; and between all of them, in a crossed way. Four women of four generations – in their forties, in their early thirties, in adolescence and childhood – who hardly know how to treat themselves because the ties are vitiated by the character who does not appear in the entire film, who has just died ruined , although it has removed and dominated a good part of their lives, and that still continues to do so after palming it.
First job as director of the so far production company Aisling Chin-Yee, What’s left of us (premiered exclusively in Movistar without going through theaters) begins as a story about resentment and ends in a story about independence and the certainty that in life making decisions, right or wrong, is imperative if we do not want to let them take them for us. Thus, each of the characters ends up finding good reasons for their (bad) behavior; perhaps, in part, even the deceased double husband.
Of short duration, apparently simple treatment and accurate dialogues, with atmospheres, staging and enveloping music very similar to some of the milestones of American independent cinema of the 1990s, the film sometimes wants to be so direct that its voracious narrative mechanics takes her to some somewhat off-the-hook sequence. But they are just a couple of falls in an almost irreproachable, delicate and without hot cloths.