Audrius Mickevičius puts the horribly disfigured face of his murdered brother at the start of his film. It is almost a meditation about the question whether a final act like murder can be atoned for in a temporal order – and whether the passing of time allows the victim’s family to forgive. Mickevičius uses the example of two lifers (one of them gets married and wants to have children, the other pours his whole passion into an idea of craftsmanship) and a philosopher with prison experience to make that strange state of suspended life comprehensible.
ZIVOX is a search engine that indexes publicly available streaming links. We do not host, store, or distribute any video content. All media is hosted by non-affiliated third parties.