Cidade Rabat

Helena is 40. She works as a film production assistant, has a daughter, an ex-husband, a lover and, at the beginning of the film, a mother. In one of the first scenes, she visits the old woman for lunch. A little later, Helena (Raquel Castro) is sitting with her sister at the undertaker’s, deciding between an open or closed casket for the funeral service.

CIDADE RABAT, Susana Nobre’s latest film following NO TÁXI DO JACK (Berlinale Forum 2021), deals with grief. This emotion is articulated with restraint as the film drifts through Helena’s everyday life. Whether she is waiting at a bank counter, duping the priest at the funeral or eating a cream puff, everything is treated with a quiet, steadfast interest. The laconism is unmistakable, the humour quiet. Parties bring movement on two occasions, and piano music frames the sequence of scenes from time to time. Nobre subtly poses questions of economy: How to pay non-professional actors above the board when they don’t have a residence permit? And when Helena is doing community service, why doesn’t she realise she is supposed to do the dishes? (Cristina Nord)