Impossible Things
After the death of her abusive husband, Matilde finds her new best friend in Miguel, her young, insecure, and disoriented neighbor.
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Drama Serie Review
Ernesto Contreras’s *Impossible Things* (2021) is a delicate masterclass in the quietude of post-traumatic reclamation. At its core, the film explores the unlikely intersection of two lives stalled by different forms of confinement: Matilde (Nora Velázquez), a woman grieving a husband who haunted her more in life than in death, and Miguel (Benny Emmanuel), a young neighbor drifting through a haze of modern uncertainty. What could have easily descended into a saccharine "odd couple" trope is instead elevated by Contreras into a poignant study of platonic salvation.
The film’s greatest strength lies in its restraint. Rather than utilizing explosive melodrama to depict the scars of domestic abuse, Contreras uses the spatial intimacy of a Mexico City housing complex to illustrate Matilde’s internal world. Nora Velázquez delivers a transformative performance; her portrayal of Matilde is a symphony of micro-expressions, capturing the terrifying transition from being a "property" to a person. Benny Emmanuel provides the perfect counterweight, grounding Miguel with a vulnerability that avoids the clichés of rebellious youth. Their chemistry feels organic, built on shared silences rather than forced dialogue.
However, the film is not without its tonal stumbles. While the 88-minute runtime ensures a brisk pace, the narrative occasionally leans too heavily on the "vision" of Matilde’s deceased husband as a storytelling device. This supernatural-adjacent element, while visually striking, sometimes threatens to overshadow the grounded realism that makes the central friendship so compelling. Additionally, several supporting characters feel like sketches compared to the richly textured leads, leaving certain subplots feeling slightly malnourished.
Despite these minor narrative hiccups, *Impossible Things* is a triumph of empathetic filmmaking. It challenges the societal notion that meaningful connection is the exclusive domain of the young or the romantically involved. By focusing on the "impossible" friendship between a widow and a drifter, Contreras reminds us that healing is a collaborative act. This is an essential watch for those who appreciate character-driven dramas that favor emotional truth over spectacle. It is a gentle, yet firm, affirmation of life’s second acts.
