Joachim Lafosse “Six Days in Spring” (“Six Jours Ce Printemps-Là”, 2025) focuses on a single mother who tries to find happiness after her divorce. However, it transmits something primitive so that it can represent any experience similar to living behind the curtain. In press observations, Lafosse reveals that the film is inspired by his own experience as a child trying to live under similar circumstances with his mother and his twin brother, when they had to give up the usual amenities on a smuggled trip and were unable to search for joy only in hiding. For this reason, the film is more likely to feel more living than it might do otherwise.
While borrowing things from his personal experiences, Lavos makes a simple shot for a family that seeks to get joy and freedom in places to be granted. His movie (Eye Haïdara), a young mother who hopes to spend a few days away from her usual life after the phase. It also seems to be excited to start her life again with her new partner, Gulls (Gul Warringo), while her son allowed escaping from the current boredom. Therefore, accept a plan that can give them some entertainment. You also see it as a way to move from their past as a family. Unfortunately, in the aforementioned wrap, something leads to something else, and finds itself back to the spaces that may never hope to return to.
For the largest part, the film appears to spend time with Gul and her two sons, Rafael (Leoneos Pinero Muller) and Thomas (Tudor Beniro Muller), in a luxury villa owned by her husband. It represents a flagrant exit from the confined space of its apartment, which cannot provide them with independence to move freely. The journey can also not be presented, and it is only joy. Stay there without telling anyone else. Therefore, they are still worried about exposure or wiping. For this reason, the curtains keep closed or extinguish the lights unless they need to do otherwise. They do not go to the local beach or be where someone can notice them easily or feel their presence.
Lafosse picks up this bone insanity, but it also leaves a lot of space to look at looking, from time to time or shortly. For this reason, despite SANA’s fear everywhere, we see four of them feel comfortable in the presence of each other. Lafosse guarantees that their interactions not deviate from public emotional notes, although it has every opportunity to do this. He uses light lukewarm songs in non -circular soundtrack to transfer basic feelings. These songs emphasize the distance between their emotional needs and an unparalleled reality.
The camera often remains close to the characters, especially Sana, while tracking everyone’s movements instead of just observing it from a distance. Through this approach, DP Jean-François Hensgens makes her deeply personal instead of purely analysis. This is very important in a movie that contains the slightest text that does not explain details about the character’s motives or emotions. It makes the entire experience vibrant by capturing basic concerns and fear of fear, while displaying the fine details of Sana’s mood.
The general emotional effect is closer to watching Dardenne Brothers. It embodies the reality of SANA seriously as Dardennes does, although mobile camera movements are not fragile and exciting like those in their work. The direction of Lavos is moving alongside this approach. It focuses on simple daily moments where characters share details that do not retreat directly with the plot. It is a contradiction between copying these common laughter and laughter against the escalating fears that make the film deeper. Through this, it emphasizes the exhausted effects of the loss of marriage and the huge weight of emotional remains that can sneak into shame or unjustified guilt.
Lavos scenario depicts that SANA is the mother who cares about her children as much as she cares about her welfare. It does not flounder but affectionate, and is often awake. The text program does not directly address the effects of its race or gender in a similar experience. However, it is skillfully hinted either during simple moments or a comprehensive emotional truth. In the end, the movie leaves you with a permanent feeling of what you should feel to experience freedom after a long period of life through silence or silent gestures. For this reason, it goes beyond just a post -sectarian story, and it resonates with anyone who felt the release of liberation from going out after years of weddings and sorrows hidden behind the curtains.
Six days in the spring (six days this spring) is a part of 2025 San Sebastian Film Festival.
Six days in the spring (six days in the spring, 2025) Film Links: IMDB
