September 2018
FLIX PREMIERE Close-Up
this month’s UPCOMING PREMIERES
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TABLE OF CONTENTS
Welcome Readers: The purpose of this magazine is to share with our movie-goers, the industry and our partners updates about what is happening at Flix Premiere each month. We aim to highlight and explore the upcoming month’s film premieres in each market, and occasionally announce new developments on our platform. Happy reading!
IN THIS ISSUE:
Six Rou nds
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Ar ch ie Co ok so n
September Premieres Snapshot Learn about our exclusive new premieres showing each week. US July Premieres Snapshot - pg. 3
ve Ca re les s Lo
UK July Premieres Snapshot - pg. 4
Close Up: Premieres Feature Reviews A chance to immerse yourself in the wonderful stories premiering each week.
The Um bre lla
She Has a Name - Teresa Ting, Giovanni Mocibob, Will Yun Lee, Eugenia Yuan, Gil Bellows, Deborah Fennelly - pg. 5 Pipe Dream - Robert Griffiths, Mercedes Porter, Nathan Wright, Chris Schumttermaier, Angela Olyslager- pg. 6 Changeover - Estes Tarver, Madeline Taylor, Carter Godwin, Tara Polhemus, Carrie Moore Marshall - pg. 7 Eliminate Archie Cookson - Georgia King, Claire Skinner, Paul Rhys, Paul Ritter - pg. 8 Six Rounds - Daniel Johns, Adam J. Bernard, Phoebe Torrance, Karishma Bhandari - pg. 9 Careless Love - Yutaka Izumihara, Jeff Truman, John Duigan, Penny McNamee, Ivy Mak, Nammi Le - pg. 10 Prism - Christian Madsen, Marcos de la Cruz, Christy Carlson Romano, Amy Hargreaves, Maya Kazan, Lorraine Farris - pg. 11 The Umbrella - Josh Potthoff, Pattie Williams, Shaun Trainer, Belinda Raisin, Jesse Richardson, Darrell Plumridge - pg. 12 Sink - Anel Alexander, Shoki Mokgapa, Jacques Bessenger, Amalia Uys, Asante Mabuza - pg. 13
HOME OF AWARD-WINNING CINEMA AND MORE
“ Nammi Le is a marvellous find, and delivers a clever, innately talented and beautiful young woman in Linh. ” Andrew L. Urban, Urban Cinefile
US PREMIERE September 21, 2018 - 7pm EST
Careless Love tells the story of Linh, a Vietnamese Australian university student who secretly starts a part-time work as an escort.
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“ With its winning script, poignant and heartfelt performances, resplendent score, and gorgeous cinematography, it’s an absolute must-see.”
US PREMIERE September 28, 2018 - 7pm EST What if an umbrella could do more than just protect its user from mere sun or rain? What if it could protect its user from pain?
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US PREMIERES SNAPSHOT
Starring: Robert Griffiths, Mercedes Porter, Nathan Wright, Chris Schumttermaier, Angela Olyslager
September 7, 2018 - 7pm EST
Starring: Georgia King, Claire Skinner, Paul Rhys,Paul Ritter
September 14, 2018 - 7pm EST
Starring: Yutaka Izumihara, Jeff Truman, John Duigan, Penny McNamee, Ivy Mak, Nammi Le
September 21, 2018 - 7pm EST
Starring: Josh Potthof, Pattie Williams, Shaun Trainer, Belinda Raisin, Jesse Richardson, Darrell Plumridge
September 28, 2018 - 7pm EST
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UK PREMIERES SNAPSHOT
Starring: Teresa Ting, Giovanni Mocibob, Will Yun Lee, Eugenia Yuan, Gil Bellows, Deborah Fennelly
SEPTEMBER 1, 2018 - 7pm bST
Starring: Estes Tarver, Madeline Taylor, Carter Godwin, Tara Polhemus, Carrie Moore Marshall
SEPTEMBER 8, 2018 - 7pm bst
Starring: Phoebe Torrance, Adam J. Bernard, Daniel Johns, Karishma Bhandari
september 15, 2018 - 7pm BST
Starring: Christian Madsen, Marcos de la Cruz, Christy Carlson Romano, Amy Hargreaves, Maya Kazan
september 22, 2018 - 7pm BST
Starring: Anel Alexander, Shoki Mokgapa, Jacques Bessenger, Amalia Uys, Asante Mabuza
SEPTEMBER 29, 2018 - 7pm bST
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She Has a Name
Close Up: Premiere Feature Review UK Premiere SEPTEMBER 1 - 7PM BST
A
dolescence is a time for exploring the world around us, for developing our curiosity with boundless energy in recreation and in study. But for too many young people – more than our imaginations want to allow – these prime years of youth are consumed by the nightmare of human sex trafficking. She Has a Name is a dramatic action film that takes on the widely-known but inadequately addressed problem of human trafficking. Although its plot develops in Thailand, the film distinctively frames the issue as an international problem – one for which people of all nations are responsible. And this global approach to the topic is appropriately reflected in the film by the diverse nationalities of its cast and crew, as well as its exquisite location shooting in Bangkok.
When I saw [She Has A Name] … I was really moved. One of the best films I have ever seen, and I don’t say that lightly. Michael Dawe, Author and Historian
She Has a Name marks a cinematic triumph. Red Deer Express
The immense gravity of the issue of the enslavement and trade of humans for sex work is presented through the lens of a narrative about a specific pair of its victims and the government agents who are attempting to liberate them.
...a riveting, fast-paced political thriller. Eric Volmers, Calgary Herald
She Has a Name follows Jason (Giovanni Macibob), an undercover State Department agent, as he befriends and gradually attempts to free the unfortunately-branded “Number 18”. Only fifteen years old, she cautiously agrees to help him build a legal case against her pimp and his protectors, after multiple reassurances and persuasion.
But the deeper Jason dives into her world, the clearer it becomes that powerful global actors and forces are supporting and sustaining this heinous trade. Will he be able to intervene with his superiors in time to save “18”? And will they be able to bring those who would abuse and enslave her to justice? Brothers Daniel, Matthew and Andrew Kooman bring the latter’s award-winning play, She Has a Name, to life in the cinema. The team has a pronounced commitment to attracting global awareness to the critical problem of human trafficking through compelling film, with gripping narrative and visuals. Their assembled cast brings insight and depth to both the pain of the victims of this phenomenon, and the psychological turmoil of their would-be rescuers, as they wage a battle of epic proportions. The intimate connection formed between viewers and the characters of She Has a Name makes it a drama that gives life and a personal face to a population that is usually discussed only in terms of statistics. Extend your knowledge about our world and make sure to catch the premiere of this riveting drama later this month.
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Close Up: Premiere Feature Review
Pipe Dream
US Premiere SEPTEMBER 7 - 7PM EST
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n the genres of “stoner” and buddy comedies, a prevailing theme is the question of what one should do when school is over: What is to be done in a world without responsibilities, and without parental supervision? Aaron Singfield’s Pipe Dream certainly takes up this question, and brings refreshing life to it in a riot of adventure during the legendary “Schoolies Week”.
Pipe Dream is pure cinematic fun...The film brings energy, life and infinite charm, and will leave viewers laughing
In the opening scene, a very tense man speaks directly to the camera, informing the audience that he is working to end the war on drugs. As the officer in charge of the crackdown, he believes that he has ridden Queensland of all illegal substances. The audience will smirk here. Of course he hasn’t. Pipe Dream, a raucous rave of a film, exhibits excellent comedic chops, fine writing, and stellar performances by the ensemble cast.
long after is has ended.
And then there are two boys who yearn for adventure. One is the officer’s son, a nervous, somewhat nerdy young man done with secondary school - and all he wants to do is celebrate. But when they leave a pet store, which is a front for crime, they unwittingly take a giant bag of weed, which happens to be the last bag in the owner’s possession.
Pipe Dream, a raucous rave of a film, exhibits excellent comedic chops, fine writing, and stellar performances by the ensemble cast.
The boys accidentally break the officer’s prized heirloom - a porcelain teapot - and they must find the income to replace it before the father returns. They approach a friend of theirs, a small-time drug dealer, to help them sell their weed and replace the teapot. It is not easy. They soon gather the attention of the vicious drug dealers from the pet store, who have killed the store clerk for letting the drugs get away. On the way, the boys meet a bizarre cast of characters, stumble towards romance, and, above all, get the wild vacation that they had been so craving. The film is filled with laughs, innovative storytelling and more than a handful of unforgettable moments.
Pipe Dream is pure cinematic fun. Light-hearted, marked by quick cuts and editing, and talking directly to the camera, it is comedy par excellence. Director Aaron Singfield deftly crafts an ensemble cast of witty, absurd, and heartfelt characters, who all richly develop throughout the course of the film. The film brings energy, life and infinite charm, and will leave viewers laughing long after it has ended. Aaron Singfield makes a terrific vision come to life. Pipe Dream is fast, exhilarating and can’t be missed.
Changeover
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Close Up: Premiere Feature Review UK Premiere SEPTEMBER 8 - 7PM BST
Changeover is a film puissant, one that pulls the drapes on parent-child issues that are even more tectonic in real life. D.F Whipple, New Hope Film Festival
C
hangeover artfully brings the extremely important subjects of mental health and family trauma to light, creating a film that is at once intense, compassionate and deeply rewarding. Showstopper Estes Tarver, the writer, director and co-star of the film, truly shines here, as he has managed to beautifully parlay his sensitive, character-driven script into a gorgeous, visceral film. One of the most striking aspects of Changeover is that so much is communicated silently, through gazes and glances imbued with meaning. The film follows Haley (Madeline Taylor), who has just tragically lost her parents in a car accident while she herself was in the backseat. She gets sent to live with her uncle Chad (Estes Tarver) and his son. Overwhelmed with grief, Haley attempts to take her own life, but is saved by her uncle, who gets her to the hospital just in time. Haley begins to process her trauma, comforted by her uncle and cousin, and by a piano that her uncle has bought for her.
An important piece of social commentary that ranks with the best of independent drama. John Higgins, Cinema Jam Director Estes Tarver excels at illustrating complex psychological interiorities, and in using visual means, rather than relying on just dialogue, to communicate meaning. His film is heartwarming and nuanced, capturing characters as they are thrown into unimaginable circumstances. Tarver gives the individuals the space they need to grow and breathe, letting them work through grief at their own pace. As such, the pacing of the film is beautifully languorous, which lets the viewer connect more deeply with the characters.
Changeover is a heart-wrenching drama, but is also at times deeply funny, providing comic relief in staccato bursts. It is a film about the difficulties of mental health and trauma; however, scenes of hope and possibility follow moments of sadness and intensity in turn. In many ways, the film is about helping one another, just as it is about recovery: as Chad helps Haley navigate her new life, Haley also helps inspire Chad in ways that he may not have been able to foresee. In this way, the film opens up a dialogue about mental health, working to de-stigmatize it, but also making the film a vessel for conversation and social change. Changeover is a joy to watch, refreshing because it is not a film where one must suffer alone. Rather, it tells the story about growth and leaning on (and learning from) one another.
Eliminate Archie Cookson
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Close Up: Premiere Feature Review US Premiere SEPTEMBER 14 - 7PM EST
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here is no shortage of espionage thrillers. To make a truly great spy thriller requires exceptional skill, and director Robin Holder has cracked the code. Eliminate Archie Cookson follows the eponymous character (Paul Rhys) as he navigates a difficult point in his life and career. He was once a high-rolling worker in the Intelligence Department, and now he is relegated to the tedium of a lower chain of command. Divorced from ex-wife Camilla (Claire Skinner), he looks from afar as Camilla and their son continue to enjoy the privileges of high society, whilefrom where he has lost his status, seemingly for good.
A wonderful hidden gem of a movie Patrick Gamble, Cinevue
He falls asleep in the office one day, holed up in an audio transcription booth, when assasins shoot his colleagues over compromising Cold War audiotapes that would be disastrous for the government and to the careers of two important spies. Archie has the tapes in his possession, but the assassins decide to give Archie two days to turn over the materials, taking kindly to him because of their history of friendship. He runs from them, while also hoping to make amends with his ex-wife and son.
Holder demonstrates a sure hand with his accomplished cast, a nice feel for deadpan scene pacing, and an ease with the bricks-and mortar aspects of making a modest enterprise look like a pricier one. Dennis Harvey, Variety
Archie Cookson is no James Bond. He is nerdy, a bit clumsy, and has a drinking problem. Eliminate Archie Cookson is a witty commentary on and, a productive play with, the genre of spy thrillers. Director Robin Holder creates a distinct and vibrant look. The film is a dark comedy at heart, but also avoids the cynicism of such a category, and offers the audience strong relationships between characters, and sharp and very human dialogue.
It celebrates and revels in the conventions of the genre, just as it critiques them. The film is fast-paced, marked by quick cuts and extremely high production value. There are countless gorgeous shots, with a set design that pays homage to the genre.
Paul Rhys delivers an incredible performance as Archie, successfully breathing life into the character’s idiosyncrasies and the general absurdity of the world that Archie inhabits. A lovable, crowd-pleasing indie, Eliminate Archie Cookson will appeal to many different demographics - as it has a cornucopia of action, romance, espionage and dry humor and will make the audience question what it means to be a spy movie, and what it means to be an indie film, too. Merging art with commercial appeal, Archie is a true, innovative winner.
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Close Up: Premiere Feature Review
Six Rounds
UK Premiere SEPTEMBER 15 - 7PM BST
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irector Marcus Flemmings’ Six Rounds -- a fiction film that feels timeless, and yet is set during the wake of the 2011 London Riots -- follows Stally (Adam J. Bernard), a young boxer who must face an insurmountable choice, grappling with his place in the world, sense of self, and his past. Flemmings beautifully and viscerally illustrates Stally’s anxiety, juxtaposing quick cuts with slow-motion, somber color schemes with moments of vivid color, silence against screams, and stasis with heavy breathing. Six Rounds truly shines in creating a poetical rhythm that taps into personal and social unrest; each image, and every gesture become synecdoche. The emotional power of the film is underscored by the stellar performance of lead actor Adam J. Bernard, who so beautifully captures the zeitgeist.
A powerful and touching film that gets everything right, from performance to editing, and leaves a lasting impression. UK Film Review
The film ultimately foregrounds the gravity and importance of making choices, as Stally’s white private-school girlfriend, Mermaid (Phoebe Torrance), once implies. But Stally’s personal anxieties and experience take on so much gravity in light of the riots; the personal blends with the social, political - there are few films where breaking the fourth wall has been used so effectively, so harrowingly. They jolt the viewer into paying attention, while also illustrating how Stally’s experiences are tied together by themes of restlessness and social instability. His sense of identity is always in flux, whether he is sharing an intimate moment with his girlfriend, speaking with a classist homeowner or trying to move away from certain bad influences in his life.
Six Rounds is powerful stuff. Its running time may be just a shade under an hour, but its memory will sticks in the mind for much longer. Freda Cooper, UK Film Review
Truly, the dialogue is razor-sharp and the script gives the characters plenty of room to develop. Even though the run-time is less than an hour, the film allows the characters to completely subsume us, and the story to feel at once personal and historical, nuanced yet writ large. Six Rounds establishes itself within the genre of boxing films, while also defying such characterizations. The film is, in many respects, about the importance of the sport to Stally. But here, the very physical aspects of boxing, emphasized by the sound mixing that underscores Stally’s heavy breathing as a kind of poetic rhythm, becomes about the very act of breathing itself: Of staying alive, surviving, in a traumatic and difficult world. Six Rounds will leave you breathless with its haunting visuals, powerful social message, sharp wit, and gorgeous poetics. It is gripping and just as urgent today as ever.
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Close Up: Premiere Feature Review
Careless Love
US Premiere SEPTEMBER 21 - 7PM EST
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n the gloriously moody opening scene, Careless Love takes us to Sydney Harbour on a rainy night: ships sift through a stilted sea, as Linh (Nammi Le) prepares for her evening, preening in the mirror. She does, in fact, live a double life. Linh is a bright Anthropology student by day, and a sex worker at night, a job she takes in order to pay her way through university while her parents struggle financially. Her friends, whom she hides her job from, all believe that she is an extraordinarily conscientious student who spends each night at the library.
Nammi Le is a marvellous find, and delivers a clever, innately talented and beautiful woman in Linh. Andrew L. Urban, Urban Cinefile
Instead, she befriends the other sex worker Mint (Ivy Mak), with whom she shares a car every night. Director John Duigan gives us an intimate and moving tale of the difficulties many sex workers face. Linh lives in a world where she is constantly shamed for her job, faces discrimination, and is always at risk of being “outed”, or worse, physical danger. Linh has successfully kept her job and private lives separated, until one client threatens to disrupt the balancing act, her friendships and budding romance.
John Duigan’s new film is a bewitching one in which morality, lies and perceptions are canvassed in a provocative and stimulating way. Louise Keller, Urban Cinefile
Careless Love’s gorgeous cinematography lights up a film whose world mostly unfolds in the nighttime: it’s a dreamy universe, that at times reveals Linh’s private nightmare. There is a sensuality and extreme honesty to this film that is refreshing and quite touching. Nammi Lee gives us a terrific, embodied performance, endowing Linh with strength and wit. The audience will be rendered breathless by this touching personal portrait of a larger social issue, and will not forget some of its light, comical touches. Duigan’s triumphant indie seems to stare directly at the viewer, eviscerating the illogisme of anyone who dares to criticise Linh. In many ways, Duigan holds up a mirror to society through Linh’s story. The film unfolds as a drama, but is tethered firmly to the reality that many women like Linh face. Viewers will be energized by Duigan’s sensitive portrayal of Linh’s particular circumstances: she plays the role of an escort, and she must use her cunning not only for self-protection, but also to understand what role she must play forto her clients, and what role they are performing forto her. In a private world peopled by men enacting performative roles, she gets the final word. Careless Love is truly a powerful and moving film about a woman’s quest for agency in a world that both vilifies and exploits her.
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Close Up: Premiere Feature Review
Prism
UK Premiere SEPTEMBER 22 - 7PM BST
A
young boy goes on a hike with his father into the woods, where they discover a dark cave. The father enters the cave, alone, and is never seen again. Fifteen years later, Bryan has transformed from a boy into a disturbed young man. Unable to commit to a relationship, or even a half-hearted attempt at becoming an actor to star in a production of Hamlet, he has been left permanently scarred by the unexplained disappearance of his dad. In a moment of desperation, he tries to drown himself. Only, when he regains consciousness, he is lying in a hospital bed next to a man with amnesia who strongly resembles his father.
A thrilling mystery that leaves you on the edge of your seat and keeps you guessing until the very end.
Prism combines elements of a plausible, realistic family drama that warp into a mind-bending paradox.
What follows is a thrilling mystery that leaves you on the edge of your seat and keeps you guessing until the very end. Prism combines elements of a plausible, realistic family drama that warp into a mind-bending paradox. What happened to Bryan’s father? Who exactly is Bryan’s father? And what kind of threat are they both facing now that they’ve been reunited? Prism follows the clues and pieces together the fragments of his past, until it arrives at a shocking conclusion.
Christian Madsen, known for his work in Divergent, plays the brooding Bryan, fixated on recovering his dad. It is clear that the film’s creators meant for his attempt at playing Hamlet to draw a strong association with the famous prince’s character. But Bryan is decided from the beginning that he wants to recover his father, ignoring calls to the contrary and the obstacles ahead. Christy Romano plays an enigmatic nurse, who coaxes the distraught Bryan closer to something nearing emotional and mental health and wellness. The chemistry between Madsen and Romano offers a touching interruption of the suspense-driven story.
Director Cal Roberton and cinematographer Farhad Ahmed Dehlvi frame key points of the action in what appears to be an enchanted forest, even as we have the impression that the setting is merely a reflection of Bryan’s mythical and outlandish memory of his hike in the woods. Are family bonds eternal, will they inevitably win in the end? The strange and the inexplicable events of Prism are sure to make it a film that you do not forget.
Close Up: Premiere Feature Review
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The Umbrella
US Premiere SEPTEMBER 28 - 7PM EST
I
t is a harrowing moment. Jared Evans (Josh Potthoff), while crossing the street with his mother, has just been told that his father is dying from cancer. Floored by the news, he feels extraordinarily alone, and seems to lose his grip on reality. He stands in the street, holding an umbrella. Although, indeed, the umbrella does not actually exist, rather he just thinks that it does. His mother and others become increasingly concerned by his actions, and he begins meeting with a counselor.
The counselor (Shaun Trainer) asks him to face his uncertainties and fears, and, most importantly, to stop hiding behind the crutch that is his umbrella if he hopes to embrace the world and a blossoming romance. As the narrative progresses, the audience sees that the counselor himself needs to address some of his own uncertainties, particularly his tendency to speak rather than listen to his loved ones. His marriage begins to fall apart, and he masks his troubles behind his work. Director Jason Solari’s film is a sensitive, moving and compelling portrait of two men as they learn to lean in on each other and help each other heal.
Director Jason Solari’s film is a sensitive, moving and compelling portrait of two men as they learn to lean in on each other and help each other heal.
With its winning script, poignant and heartfelt performances, resplendent score and gorgeous cinematography, it’s an absolute must-see.
The cinematography is wholly immersive and compelling, and the leads give us exemplary, unforgettable performances. Solari is committed to realism, and very expertly captures the intimacies, trials and tribulations of their lives. Although the subject of the film involves something deeply personal, the film itself feels epic in scope, as it will captivate and consume audiences. The world that Solari creates is a hopeful, compassionate one, that relays an important message about kindness and interpersonal understanding.
The Umbrella is powerful, resonant and urgent. Jason Solari imbues so much depth into his characters that it is incredibly beautiful to watch their multifaceted, lovingly crafted and personal stories unfold. The film is a visceral and important message about the significance of not only helping each other heal, but also in having the courage to pursue our dreams. Watching The Umbrella is an absolute treat, where you will certainly feel a range of emotions: from melancholy, sadness, joy and the wonders of new love, to even some heartfelt laughs. With its winning script, poignant and movingheartfelt performances, resplendent score and gorgeous cinematography, it’s an absolute must-see.
Sink
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Close Up: Premiere Feature Review UK Premiere SEPTEMBER 29 - 7PM BST
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eated at a dining room table, a white couple stricken with anxiety and a grave tone invites their black domestic servant to seek employment elsewhere, if she so chooses. The latter’s face is one of absolute dejection. She reluctantly asks to stay, and so in heavy breaths, followed by silence, it is decided that she will resume her duties as their maid on Monday. Sink is a South African film about one mother’s tragic loss, and another’s struggle with insurmountable guilt due to an unpardonable episode of neglect. As a Mozambican immigrant in Johannesburg, Rachel faces the choice of staying in the employ of a family that has grievously wronged her, or being exiled back to her impoverished homeland. While making conscious decisions about how to navigate this new treacherous landscape, she must tend to the haunting, painful memories that gradually reveal the full contents of her story to the film’s viewers.
Chris Letcher’s beautifully spare core elegantly supports the emotional tone rather than telling you what you are supposed to feel, just as the film gives you a scenario and makes you question how you would deal with it. Theresa Smith, Independent Online
Sink is a triumph of a film that explores love and loss so fearlessly that it will leave you breathless and shake you to your core. Herman Eloff, Channel 24
In Rachel’s plight, it is impossible not to feel the weight of the legacy of Apartheid, and not to be disturbed by the social imbalances perpetuated by systemic racism. Director Brett Michael Innes’s composition of the world the Jordaan family inhabits throws these inequities into stark relief. The sleek modernist home that Rachel cleans is made up of sterile, muted tones. Only in the clever use of the reverse-shot to signal a flashback do we pick up a sense of vibrancy, color, and life in the home. These recollections interrupt the deafening emptiness of the present.
Shoki Mokgapa delivers a powerful performance through subtlety as Rachel. Delicately balancing the pathos of her loss and the pragmatics of her circumstances, she plays both the noble victim and an active agent in deciding her future.
Innes also makes clever use of aerial shots to shift perspective on the drama and heighten the play of contrasts in color. Such a move, along with fantastic acoustic choices, turns a backyard swimming pool into an ominous living character in the plot. We see Rachel contemplating her situation from above, as if we were the very character evaluating her life from the outside.
Anel Alexander and Jacques Bessenger deliver as the neurotic high-bourgeois Jordaans. They convince us that the tragedy unfolding about them is just a symptom, or a hazard of everything that makes up their way of life. Sink is a powerful story about loss, and an incredible metaphor for the difficulties and the possible rewards of reconciliation. It is absolutely not to be missed.
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“ Prism combines elements of a plausible, realistic family drama that warp into a mind-bending paradox.”
UK PREMIERE September 22, 2018 - 7pm BST A troubled young man's father resurfaces 15 yrs after disappearing, forcing the son to rebuild a past that could destroy his fragile sanity.
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“ Sink is a triumph of a film that explores love and loss so fearlessly that it will leave you breathless and shake you to your core.” Herman Eloff, Channel 24
UK PREMIERE
September 29, 2018 - 7pm BST Sink is a powerful story about loss, and an incredible metaphor for the difficulties and the possible rewards of reconciliation.
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