Karim Ainouz’s THE SILVER CLIFF (O ABISMO PRATEADO) opens with a dramatic shot of a swimmer amongst the crashing waves of the sea. Emerging from the surf is Djalma (Otto Jr.) who leads us back to the family home of Violeta and their 14 year-old son. Initially the focus of the story appears to be the husband, however our attention is shifted to Violeta (who is convincingly portrayed by Alessandra Negrini). This is due to the fact that Djalma soon departs from the city, abandoning his relationship, and leaving only a final voicemail message. What marks this film out for special note is not what happens in the story, but rather what does not happen.

The majority of the action occurs in the first half of the film, and after this the film changes character, becoming slower-paced yet with an expansion of possibilities. The dramatic cinematography evokes a sense of desperation, and the tension is only dissipated towards the end of the film. Frequent use of close-up shots brilliantly frames our heroine’s very personal experience amongst the hubbub of Rio. Violeta’s reaction to the sudden demise of her marriage is one of panic, and through the rest of the film we witness her rapid journey through the grief of the break-up. The end of the story gives an insight into emotional conflict and the perceived and actual freedom of relationships summed up by the “theme” music of the film, ‘Eye to Eye’.

Graham Hughes