18 Buracos para o Paraíso
Three women, one farmhouse. The landlords are the focus, but the workers have Rita Cabaço, subdued, without Raiva.
The first landlord is some idle rich lady of a certain age, pissed at her son for avoiding her altogether, so much so that her grandson being born was news for her. She sees all her world fade away, and sees the house as her tether to the olden days.
The other sister just wants to sell it and be over it. She’s got her children, her books, the abusive husband that says to his face he is financing her books. That fucking guy walks out on them after dinner, like a fucking coward. It’s not his family, he would rather sneak out in the night.
Then there’s the actual protagonist. She’s the daughter of the motherly maid, a nurse in the suburbs of the big city. She is visiting her mother for some weeks since she has some kind of early dementia, she forgets things now. Her own daughter is just a few years old, she can’t afford to take care of them all. The husband is no richie rich either.
That’s the truly tragic figure. She is spinning so many plates at once, and cannot find any support structure anywhere. The rich family don’t give a shit about the woman that raised them since they were born, and are not willing to partake the future sale, preferring to throw her on the dole and give her peanuts. The husband can only placate her with banalities. There are no friends to which she can talk about this.
The other richie rich sibling is just the idiot uncle playing the tough guy, spitting xenophobic crap while avoiding lifting a finger for everyone.
There is an implication the (unseen) father o the protagonist is the old landlord, but this is left ambiguous.
This is my place for ramblings about sequences of images that exploit the human visual limitation know as persistence of vision.