Rose (Fiona show) does not continue. In the true sense of the word: since her daughter Sofia (Emma McCa) was four years old, Rose was in a wheelchair. It diagnoses chronic pain in all possible parts of the body, the ranks of the doctors: inside and regularly gives it mustard and prescribes so many drugs that the tablets are hardly sufficient.
From time to time, says the armed librarian, she can make my legs mysteriously for a while. But without her adult daughter, Sofia, who for a long time conducted her anthropological research in London to prepare her mother in order to push a wheelchair, get fresh water and suffer from her Sunppy, would go into a rose as a primrose. Or like a 65-year-old mimosa.
In order for this to continue, Sofia and her mother went to the Spanish coastal city – Miracle Doctor Gómez (Vincent Perez) should help Rose. His overstated private therapy initially consists of conversations – with both. Since both women fall into their long -grown, dysfunctional relationships, this interdependent behavior of Sofia enhances the charm of her mother and vice versa that psychosomatics are combined with the tactics of avoidance that you see, you see a radical picture, even blind with a turn.
Thus, this is the tragedy of the mother-house, almost the size of Jelinek, which puts the script “She” and “Ida” and the playwright Rebecca Lenkevich in her first cinematic work, adapted by the novel Deborah Levy. The two excellent leading actresses of the show and McCa are reflected in their physical quirks, the constant barking of dogs in the background looks like an echo in the bark commanders of her devoted daughter.
Rosa and Sofia reflect each other in their physical quirks
The expression on the face of a closed young woman counteracts the involuntary twitching of her mother. The rhythmic, pure neckline emphasizes unhealthy habits, in the background with a sad melodic (music: Matthew Herbert) is the artificiality of Lambada, which indicates that you are actually in paradise.
For a long time, the density, the broken atmosphere under the hot sun and in front of many semifinational houses of Spain is disrupted only by a small effect. But then, when Sofia roars the sea at sea on one of its rare excursions, the appearance of the prince follows a white horse -only that the horse is a red fox, and the prince is a white woman: a tourist and artist -artist Ingrid (Vicki Cryps) appears in Sofia. According to appropriate music and the camera, the first and rethinking of two women behave as a defiantly shy quote from “delicate cousins”, without any Male gauze: While the head scarf of the 70s is blowing into the wind, Sofia is written at the sea of a wet face.
They come to each other, find each other, but Sofia quickly realizes that Ingrid is quite a wild horse than a good akal. And there is too much trauma in any case. Because not a few love nights with Ingrid (or others), neither the rapprochement of Sofia on the main Greek father and, therefore, to the family that was held from her, which was held from her mother, is enough to now completely exceed the long -term calculation in Sofia, as well as the shower rose. “Hot milk” leaves a little doubt as a good therapist: in this, so that you continue to work on yourself: for sustainable healing, much more than a few passionate kisses on the beach ceiling will have to happen.
In parallel with the loss of time of Sofia, which a long -term student as an unpaid, wholesaler of the whim and the conditions of his mother, for the most part of the film, is sometimes lost, the ambitious shot “hot milk” sometimes loses something dramatic. The listening story looks like you randomly accumulate one door of therapy after another – and behind each of these doors is a different shocking event decorated with a new injury. But the game of two women and the actor is supported: inside, also the care with which Lenkevich describes shrubs, scars and features of all participants.
“Hot milk.” Director Rebecca Lenkevich. With Emma MACK, Fiona Show and Great Britain in 2025, 93 min.
The end screams about escalation, and although it is thematically expected, it is pleasant that at some point Sofia is torn, from a child or nanny to become a self-sufficient adult, observing a potential anthropologist. They say that something is easier to destroy than to build something. But sometimes this is the only option.
