今天這個日子對爸爸阿海來說是特別的，因為擔任消防員的兒子祥仔終於要回家了。阿海從幾天前就開始準備，想著要煮哪幾道祥仔喜歡吃的料理，想著要怎麼迎接他回家。辛苦了一整個上午，這整桌飯菜，不只是滿溢著父愛，也是思念的味道。所有的一切，都是為了父子倆能夠在家裡再一起好好吃頓飯。
Following on from the impressive Drift with its hypnotic transatlantic sequences reminiscent of Michael Snow, Helena Wittmann’s second feature is set in the Mediterranean Sea. The heroine navigates along the route of the French Foreign Legion from Marseille to Sidi-Bel-Abbes via Calvi on a contemporary Odyssey that is at once political and sensuous.
入围塔林电影节影评人之选竞赛。 Masterfully orchestrated – with only a small budget, the setting basically consisting of a table, two chairs, two persons talking, one mysterious manuscript and some little food in-between – this two-men drama reminds me of Robert Bresson’s famous words about filmmaking: “Two types of films: those that employ the resources of the theatre (actors, direction, etc.) and use the camera in order to reproduce, and those that employ the resources of cinematography and use the camera to create. (Robert Bresson. “Notes on the Cinematograph”, New York Review of Books, 2016)
