The plot and its plasticity run away total to any conception that if perfectly has of linearity, narrative, of space and time, presenting worthy surrealistas possiblidades of a Salvador Dali, a Kafka, a DVince, or a Michelangelo. The workmanship is of a perfect alchemy in the field of the ethics and the aesthetic one. By the way, the aesthetic one of the workmanship captures the look, the brain first, little by little to catch the mind and to conquer the soul. Little time if passes until, captivated, in we give account to them of that we are twisting against our fellow creatures, of so likely the tram if it presents to our ethical judgment. We are connected. Participating of the scenes (we are in 3D, remembers) we are avatares, we fight as avatares, we feel as avatares and we live each as, as the teachers of had planned it to the symphony, and, exactly without terms idea of what he is for coming, we know in the soul of avatares, that already we become in them, that the Good will be successful to the Evil.
Because, in the truth, all we have hope of that this always it occurs, exactly when we testify that, in the experience of the real life, it can thus not be. that, in this in case that, the Good alone can exactly come of the others, of our foreign dessemelhantes. He is therefore that Avatar, crowding the cinemas, arrebatando ticket offices, surpasses ace rooms of exhibition and, fixed in our minds and hearts, return with us to our homes, but without partilhadas quarrel or interpretations. Of so devastador, explicit silence its reach, manifest only the beauty, the inediticidade of the workmanship. It is therefore that we partilhamos this experience recommending those of our conviviality that do not leave of experienciar an uneven moment in the history of the cinema; the change moment; the moment where the cinema left for brings and closing the door everything what proper it knew and practised as cinema.