Review by Beatrice On 21-Oct-2024
Remember, man, that you are dust, and to dust you shall return.
Screams, delirium, anger, while Samson and Delilah by Camille Saint-Saëns plays in the background.
A crisis from Claudia forces her daughter Violeta and husband Flavio to request hospital intervention.
Scattered papers on the floor, curtains torn down, chaos in a house that breathes art.
The woman has terminal cancer, and although her condition allows her to live normally, some days the situation becomes unmanageable.
She wants to go to Switzerland to end her life; she doesn't want to wait for death to come naturally. Her husband expresses the same desire, revealing to her that he had thought about it even before the illness.
Violeta is completely opposed to her father’s wish to resort to euthanasia; she feels betrayed and wants her father to be there to accompany her mother in death.
A house full of artists: Claudia is an actress, Flavio a director, and Violeta a musician, though she intends to leave the orchestra to devote time to everyday life.
Though the experts try to understand and dissuade Flavio from his intentions, he reiterates that if his wife had left him, he would have tried to win her back, but in the face of death, he can do nothing and cannot live without her.
They organize their wedding to bring all the children to the party, with music, flowers, and theatrical sets in the garden, while Con mi corazón te espero plays and people dance.
The occasion brings out old misunderstandings, unspoken feelings, some tension, and especially Violeta’s need to reveal her parents' intentions to the family, though without their agreement.
Perhaps the parents never truly loved each other, and in that case, for Claudia, all that's left is to wish death upon the newlyweds!
The journey to Switzerland, the apartment, the bed, the procedures, the forms, and the cruelty Claudia directs at Flavio, planting doubt in his mind that she wouldn’t have done it—that she would have continued to live… without him.
Claudia is moved while listening to Callas sing Gilda in Rigoletto.
The choice of the urn and the desire to be thrown in the trash.
Contemporary dances intersect the film's screenplay—restless, ghostly dances with illustrious performers: eros and thanatos.
A story of life, love, emotions, and art.
A house that feels like a stage.
A family and a compromise: two distant children, because parents are always the origin of everything.
A film that encourages a bold look at death, between illness and delirium, between acceptance and taking a stand, between fate and partial remodulation of the same.
To let life take its course or to decide to hasten the end—the eternal theme, since life’s fulfillment is always death, inevitable.
End of life as an active achievement, as a shared experience that transcends "until death do us part."
Todo Tiene Su Final closes the film.
The ontology of death becomes an artistic/cinematic installation.
Just as I would choose my ship when I prepare for a journey, or my house when I intend to take up residence, so I will choose my death when I prepare to leave life.
21-Oct-2024 by Beatrice