The Flame of a Candle

Northern Portugal. An imposing residence with its garden and magnolia tree. As we know, home is a place that film, this outdoor art, has often used to depict less the joys of family life than a pernicious space. André Gil Mata has made it his stage, with its rooms, its furniture, what plays out there and what has already played out there. From one room to another, from one era to another, the film delves deep into this enclosed space, a kind of suffocating box. Northern Portugal. An imposing residence with its garden and magnolia tree. As we know, home is a place that film, this outdoor art, has often used to depict less the joys of family life than a pernicious space. André Gil Mata has made it his stage, with its rooms, its furniture, what plays out there and what has already played out there. From one room to another, from one era to another, the film delves deep into this enclosed space, a kind of suffocating box. Northern Portugal. An imposing residence with its garden and magnolia tree. As we know, home is a place that film, this outdoor art, has often used to depict less the joys of family life than a pernicious space. André Gil Mata has made it his stage, with its rooms, its furniture, what plays out there and what has already played out there. From one room to another, from one era to another, the film delves deep into this enclosed space, a kind of suffocating box. Northern Portugal. An imposing residence with its garden and magnolia tree. As we know, home is a place that film, this outdoor art, has often used to depict less the joys of family life than a pernicious space. André Gil Mata has made it his stage, with its rooms, its furniture, what plays out there and what has already played out there. From one room to another, from one era to another, the film delves deep into this enclosed space, a kind of suffocating box.