We don't precisely get to know what he (Frank) really wants from her (Margaret), and, even less, what her own problems may be: she has issues with the memory of her deceased husband (Eric), and the real point of those issues is never plainly revealed. It appears that Eric had committed suicide, but his motivations for doing so are never really explained. Frank alternatively makes love to Margaret and scolds her, she in turn goes to bed with him and asks him to leave her alone forever.
The relation of Frank to other characters, as well, is ill-defined: that with Mr. Weaver, for exemple, is never fully outlined; and who is really Mr. Johnson, Frank's dad or just a scout for the rugby team? We will not find answers to these questions. It is as if a curtain of silence has fallen upon all of them.
Silence "implies consent", reads the proverb. But, first of all, consent to what? No alternative is given. More properly, I think that silence "says nothing" ("through yonder window"). Which is maybe good for audiences accustomed, and liking to make suppositions from what is (not) showed on the film, but - in my personal opinion - is just like some smoke in my eyes. And I don't like it.
P. S.: The film seems to be very professionally realized.
The relation of Frank to other characters, as well, is ill-defined: that with Mr. Weaver, for exemple, is never fully outlined; and who is really Mr. Johnson, Frank's dad or just a scout for the rugby team? We will not find answers to these questions. It is as if a curtain of silence has fallen upon all of them.
Silence "implies consent", reads the proverb. But, first of all, consent to what? No alternative is given. More properly, I think that silence "says nothing" ("through yonder window"). Which is maybe good for audiences accustomed, and liking to make suppositions from what is (not) showed on the film, but - in my personal opinion - is just like some smoke in my eyes. And I don't like it.
P. S.: The film seems to be very professionally realized.