Life is ephemeral and the person is a moment of conscience fading out when facing eternity. Thoughts and plans turn to achievements as far as life circumstances allow it and the outcome doesn’t always meet the expectations at the beginning of the journey. But it is the journey that is important and not the destination. Muriel Paraboni’s ‘Eventide is a reflection on the self. The contents of self is a tide of memories that come and go. The closer the person gets to its ‘eventide’ the more important and pregnant memories become. It is through them that a man will evaluate his life and emotion is the criteria to do it. Emotion is apparently the real purpose of the journey and this is what feeds the roots of life and puts Paraboni’s Universe into motion. 

Time is inexistent; past, present and future join together in a mix of feelings that the spirit reappraises and revalues. It is this reassessment of values that makes the ‘colour’ emerge and makes the self aware of itself by mirroring its image back. Beautifully shot and graded, with masterfully framed and powerful visuals, ‘Eventide’ is a lyric personal reflection on life and the revision of one’s personal convictions. It is one of the most poetic films The Monthly Film Festival has hosted so far – if not the most itself. 


Filled with nostalgia, ‘Eventide’ has an astonishing power to focus on the metaphysics of the existence of self. The title is also symbolic sending to the final moments of one’s life when they become aware of their transiency. Is it death drawing near that triggers this reflection? Is it the genetics and mechanics of the self? Is it the fear of unknown or just the revelation that is pointing out to eternity and makes one ask themselves: ‘what am I compared to it?’

Muriel Paraboni’s film is truly impressive. The scenic movement, the picture composition and set design are carefully conceived to meet the requirements of the theme. Set design for example despite being seemingly minimalistic in fact hides a great thinking in detail, conceptualising the visual materialising of the ‘memory’. It therefore makes cinematography preserve only certain key elements that might indicate the mind’s tendency to associate certain things with a certain person, moment or event in one’s life: an armchair, a bike, a table, a tall lamp – just to get an idea of the director’s profound fundamentals in visually gestating his ideas.

Art lovers will love it! Outstanding vision!