A newly widowed man thinks his wife is trying to tell him something from beyond. To find this out, seek the help of a parasychologist who is able to connect with other dimensions and thus reveal the secret of the signals that continually haunt their environment . In the meantime, his son tries to dissuade him to take him to his new home again to get on with his life.

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This is the story of The Father (Bashtata, 2019), a Bulgarian film directed by Kristina Grozeva and Petar Valchanov , which manages to very correctly to portray the absurd condition of human nature, based on the relationship between a father and a son who see each other involved in hilarious and unexpected situations. No momentous dialogue or conversation is needed to delve into the psychological depths of the two main characters; each one of them carries claims and desires that become palpable in the actions that take place during the development of the story. Through this virtue of the film -and the more than acceptable interpretations-, the viewer will deduce and build for himself the possible profiles of both.

The timing and rhythm of this tragicomedy may be different from what we are used to see in Hollywood productions: The Father is restrained, runs away from dramatic excesses and is narrated with a certain class . It has an interesting balance between comedy and drama when it comes to addressing the theme of family relationships as a backdrop, unresolved conflicts and guilt that threatens from the past.  The Father is not a movie to laugh out loud, but an invitation to reflect on life and our roles in absurd contexts and situations where it is possible that we see ourselves was reflected . If that is the case, we will have no choice but to smile, fortunately or unfortunately.

The best: The way the relationship between father and son is described.

The worst: You can escape details in situations that happen very quickly. 

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