![Ulaa Salim](https://m.media-amazon.com/images/M/MV5BYjAwMGJiNzQtZjc0ZC00ZjczLTkxODQtYTY1ZDA2NWVjMzRlXkEyXkFqcGdeQXVyMjQwMDg0Ng@@._V1_QL75_UX500_CR0,26,500,281_.jpg)
What makes the International Film Festival Rotterdam (IFFR) so endearing beyond its penchant for experimentation is an atmosphere that’s joyful and devoid of stress or self-importance. That was evident at this year’s festival, inside theaters where it seemed like the experience was about sharing cinematic pearls and not about arranging financial deals. The film selection was once again a delightfully uneven mishmash of bold stories with, perhaps, a through line having to do with our complicated relationship to otherness.
In Ulaa Salim’s Eternal, this otherness takes the shape of the Earth itself and of a woman’s body. These two are metaphorically linked through the figure of a fracture, which appears as a sign of the end of times after an earthquake in Iceland cracks the Earth open, and is poetically mapped onto the body of Anita (Anna Søgaard Frandsen) when she and Elias (Viktor Hjelmsø) first have sex.
In Ulaa Salim’s Eternal, this otherness takes the shape of the Earth itself and of a woman’s body. These two are metaphorically linked through the figure of a fracture, which appears as a sign of the end of times after an earthquake in Iceland cracks the Earth open, and is poetically mapped onto the body of Anita (Anna Søgaard Frandsen) when she and Elias (Viktor Hjelmsø) first have sex.
- 2/1/2024
- by Diego Semerene
- Slant Magazine
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