Furthermore, the film’s central relationship is problematic in ways the script never fully critiques. Stepas is possessive, aggressive, and gets into a fistfight at nearly every opportunity. Gabrielė’s “transformation” from a good girl to a rebellious lover is portrayed as romantic, but the power imbalance is uncomfortable. The film mistakes toxicity for passion. In 2019 (and certainly in retrospect), a story where the hero’s idea of love involves punching other men and dictating who his girlfriend can see feels dated and irresponsible.
The two leads also deserve credit. Marius Repšys, with his brooding stares and physical intensity, fits the “bad boy” archetype well. He brings a raw, unpolished energy that almost convinces you Stepas is more than just a walking red flag. Džiugas Siaurusaitis, as Gabrielė, balances innocence with a growing sense of defiance. Their chemistry is visible, even when the script fails them.
The film creates a stark visual and narrative contrast between Babi’s gated, manicured world of wealth and Hache’s gritty, concrete neighborhood. The romance serves as a bridge between these two Spains, suggesting that love can transcend class boundaries, even if society actively works to maintain them.
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