On Natalia Almada’s Todo lo demás

…by not allowing viewers to flee or escape these interstitial moments, Almada asks us to be present, and to experience with Doña Flor a life that we might otherwise deny intensity or importance because of its commonality. The slowness of Todo lo demás requires that we approach the present as a moment imbued with intensities and affective resonances, that harkens up feelings from the past, or worries about the future, as long as we are able to sit with it long enough to notice.

Fornoff, Carolyn. “‘The Case for Slow Cinema: Natalia Almada’s Todo lo Demás.’” Mediático, November 7, 2016. http://reframe.sussex.ac.uk/mediatico/2016/11/07/the-case-for-slow-cinema-natalia-almadas-todo-lo-demas/.