- It is just an ordinary day after thirty-two years. The son confronts the father with all his courage and tells him that he will not live with him anymore but will leave the house. His bag is on his back. He wants to discover both himself and a life he doesn't know. But, it will be much more difficult than he thinks to turn this desire into reality.
- It is just an ordinary day after thirty-two years. The son confronts the father with all his courage and tells him that he will not live with him anymore but will leave the house. His bag is on his back. He wants to discover both himself and a life he doesn't know. But, it will be much more difficult than he thinks to turn this desire into reality.
The film Rain, Snorkel and Green Beans is a micro-projection of non-communication, alienation, aimlessly inextricability, and fictitious self-indulgence between the family members where the integrity of the nuclear family is still the backbone of life. In the place that identification with hate, betrayal and loyalty, anger and pity, dramatic and absurd are intertwined in a grotesque world, the dialogue between the father and the son is completely broken; only monologues left behind. When dialogues and the coherence are out of context, the lines that the father and son have put together as if they were quoted from television series and Hollywood movies reproduce a world full of clichés. This world, which is reproduced every day, creates a place where reality and dreams are intertwined. As the conflict between reality and dreams grows, the objects of desire that the father and son suppress are structured as fetish elements. In this respect, the aim of the film on the dramaturgical level is to remove the linguistic field from a classical representation that reveals the lack of communication between father and son relationship and to create empty spaces where the audience will discuss the movie integrally.
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