Thank you, Ana — I really appreciate your thoughtful reading of the cinematic language in this film.

Your point about the airplane crash, and your connection between it and the father ignoring his son’s word “avião” (“plane”), shows a very precise understanding of one of the film’s most important scenes. To complete that meaning, the airplane carries another layer as well: it unfolds within the father’s perception, not in the film’s external reality. It is the instant he realizes that what seemed small — ignoring his son’s word — may hold a much deeper consequence.

Behind that, I was also exploring how our responses as adults can shape a child’s inner world. When a desire is met with a direct “no” or with dismissal, especially for some autistic children, it can create tension, frustration, and a sense of rupture. By contrast, a small shift — like “depois” (“later”) — does not deny the desire; it simply places its fulfillment in time.

And that shift can change everything.

We see this in the child’s response: when the father moves from “no” to “later,” the child becomes calmer, more receptive, and even able to imagine the world in a softer way — like the graffiti airplane, which in his perception moves freely and gently.

For me, the airplane is a symbolic event within the father’s perception, but one that we can still touch visually and physically on screen. This invites the viewer to question and discover its meaning for themselves, rather than having it explained to them. Even when films are created with the assistance of AI, cinema remains cinema: it should move us to think and feel, not simply provide explained information.

Another point: regarding the coworkers, I fully agree with your observation. They do know something about his son — but not enough to truly understand what that reality means. Their understanding is partial, and in that sense they represent us, the audience: when we engage with something through incomplete understanding, our judgment can also be incomplete or inaccurate. At the same time, we avoided framing them too clearly through either sympathy or condemnation. We left that space open for the audience, so that each viewer might reflect according to their own level of understanding.

And I think that distance between knowing and understanding is also part of the film’s core.

I’m truly grateful for your insights, as always, Ana. These conversations were part of the foundation of the film from the very beginning, and it is special to see them continue here.

Mohamed Beriky

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