Samotność we dwoje

Masterpiece by the Różewicz brothers, (poet and filmmaker) of an extraordinary opacity on the matter due to the delicious complexity of its two possible arguments, both incredibly intertwined, (a) spiritual dogmatism, embodied in the pastor Hubina, who imperceptibly blurs and he suffocates his own marriage, especially his wife Edyta, with his rigidity and artificiality of daily habits, and argument (b) that is less intuitive and obvious, the difficult test of life than someone who is believer, like the pastor, it is up to him suddenly to experience and what it means to practice with his family what he preaches with the parishioners in the church. From (b) it is clear to me with the scene of the viper that, if you like as stupid premonitory symbolism, it begins the stages of spiritual testing of the shepherd, without forgetting the tolerance that as a husband he must have had with Nietzsche's ideas of the teacher Kschitzky's piano playing was nihilistic to a certain extent (and we must not forget that they were misused to justify the Nazi genocide), and (a) the grim face of his wife, first distant and then openly rejected, especially after her death accident of his son and his return from Prague. The structure of the work intelligently overcomes the threshold of orality, putting in its place a script that is elliptical, that is, apparently incomplete but that is tacit in the actions of the characters and with a narrative that insinuates, rather than using dialogue. . The cinematography is to envy. Excellent work whose ending is exactly as one might expect in real life when a marriage reaches that delicate point of repudiation.