In the face of delicate human experiences or emotions that often elude the rigors of precise words, perhaps the most effective solution is provided by the metaphors privileged by the language of cinema, or even by the versatility of animation. In the case of Natasha Redmond, who delivers a short film that is sensitive, intense, sad, but as human as possible, ‘(w)hole‘ is a special project in many ways, precisely because its minimalist concept manages to be so effective and evocative. Of course, its suggestiveness is not just a matter of technique (although the director proves she has the necessary knowledge) or even a highly elaborate aesthetic. On the contrary, the short animation is constructed with a rather simple but vibrant and dynamic chromaticism, while the lines tracing the characters’ physiognomies and gestures have something of the candor of a child’s drawing. What makes the magic work, filling all these stylistic choices with meaning, is the authenticity with which the creator depicts a sour experience and a personal, intimate revelation.