The veteran also leads many authors to Examine the proximity of deathbut it is true that mortality is something that can hit anyone who is alive so we are seeing it more frequently through other voices. last year two Spanish works such as ‘Los Lados’ and ‘The next room’ touched the theme of very different ways.
In those specific cases, they not only addressed death, but how to be able address it with some autonomy and dignity in addition to love. The choice in death is something that is about discussing little, by a mixture of religious and social under integrism derived from the first. That it is such a matter is just what makes it interesting for a filmmaker like Costa-Gavras, who touches him in his last cinemas: ‘The last sigh’.
Processing imminent death
Not for nothing the Greek has become synonymous with political cinema, with its peak dominated by a series of Thrillers based on criminal and repressive acts of government authorities against dissident voices. But even moving away from state blows, he wanted to establish his work as acts of resistance against economic abuses, media sensationalism or religious influence in power. Without the need to make direct soflala, it is also able to do so in A humanistic and medical drama.
In the film we see a popular worried philosopher after his latest radiological exam, who has shown a potentially worrying stain. In the hospital context he knows Augustin Masset, head of doctors of the Palliative Care Unit, with whom he has conversations about how to address death through the stories of the different patients that has been found.
Although our protagonist has written in the past about the care of the elderly, his conversations with the expert in accompanying death makes him think about the potential of a book on how to preserve the desires and dignity of the person who is close to death. It could be a distraction of your current state of health, but we progressively see how the project serves to prepare for the worst.
‘The last sigh’: the personal is political
However, the role of this protagonist ends up being more observational, receiving the stories or witnessing them through their new medical friend. This leads us to recreation or Turisteo for different episodes that serve for drumming cameos such as those of Charlotte Rampling or Ángela Molina (whose plot serves to trigger the most rashing sequences of the film). But they seem that, specific star appearances that The feeling of a collection of anecdotes instead of a natural progression of the story accentuates.
Gavras tries to look here without judging in the different ways to face the imminent loss, giving validity and respect because Consider that it already does a political testimony. Even their most intense thrillers have always departed from the individual, the personal, to reach the political, and ‘the last sigh’ is no different in that aspect.
Yes, it is in a certain technical conformism, which leads to the fact that most sequences have been resolved in a hurried or excessively austere way. Removing a couple of memorable sequences, its staging is very walking around the house (or telephile for some), leaving very brief A film that could have been more forceful in what tries to communicate.
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