Everytime, Sandra Wollner's latest cinematic offering, is a subtle and intriguing exploration of grief and recovery, but it leaves viewers with a sense of unease. The film's strength lies in its ability to inject genuine unease into ordinary events, from eerie strolls through Berlin to surreal trips to the Canary Islands. However, the lack of a sustained narrative and a prolonged build-up to the climax can be a hindrance. The story follows a family of three women, with a particular focus on the divorced mother, Ella, and her two daughters, Jessica and Melli. The film's pacing and structure, reminiscent of Angela Schanelec's work, create a sense of detachment, making it challenging to fully immerse oneself in the characters' lives. The death of Jessica, a teenager, is a pivotal moment, but the reasons behind it remain ambiguous, adding to the film's enigmatic nature. The subsequent portrayal of the family's reactions and their attempts to move on is both studied and compassionate, revealing the complexities of human behavior in the face of tragedy. The film's strength lies in its ability to capture the nuances of grief and the varying ways individuals cope with loss. However, the lack of a clear narrative arc and the delayed resolution can leave viewers feeling unfulfilled. The film's climax, set at a seaside resort in Tenerife, takes an unexpected turn, offering a solution that feels too good to be true. The closing scenes, staged with disquieting aplomb, provide a sense of meaning and mystery, but they may also leave viewers with a lingering sense of ambiguity. Everytime is a thought-provoking film that challenges viewers to contemplate the complexities of grief and the human capacity for resilience. While it may not be a perfect narrative, its exploration of the human condition is a testament to Wollner's directorial prowess.
