Early one morning, two children are awoken by their parents so they can set out on their family vacation. The family heads from Santiago Chile to the north of Chile for a holiday, but there is a hostile, yet quiet force which is brooding under the surface. As they make their way through barren landscapes and back country roads the children slowly begin to realize that this vacation isn't just another vacation but possibly their father's farewell trip. Dominga Sotomayor Castillo's Thursday Til Sunday is a minimalistic look at the deconstruction of a family unit which is centered around the adults lost love. Entirely from the point of view of two young children, Thursday Til Sunday subtlety shows how these two parents have grown apart from one and other, capturing in detail how they attempt to keep this separation as painless as possible for their two children. The cinematography helps create this subtle sense of dread, with the barren landscapes and claustrophobic feel of the car on a long trip aiding in creating a perfect setting for the slow unraveling of these two young children's parents. While there is no denying the naturalistic quality of Thursday Till Sunday, the film never really engaged me on an emotionally level while showing this slow deconstruction. It's a film that probably tries a little too hard to be subtle to the point that it doesn't have that much to say. The pacing is just too slow and outside of its naturalistic approach in depicting a family unit on the brink of separation, it really feels empty. Dominga Sotomayor's debut feature Thursday til Sunday provides a natural portrait of divorce through the eyes of the children, but its tepid pace and tedious detail wares thin on the viewer, despite Sotomayor's visual eye.
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