The film presents itself as an experimental documentary project, aiming to capture, through a series of interviews, the intimate and final testimony of her mother in her last days of life. The project, in line with much of the director's filmography, decidedly embraces improvisation and the use of the combination of long tracking shots and fixed frames. However, many of these shots suffer from technical issues, whether due to underexposure or overexposure, adding a layer of rawness and spontaneity to the work that is not easy to digest. This spontaneity is so pronounced that the viewer can even see Chantal stumbling while handling the camera; incidents that might be forgivable if they did not affect the development of the script, which is practically nonexistent. The absence of a structured script and the lack of planning become evident throughout the documentary, weakening its impact. Although the approach seeks an unfiltered authenticity, the result is a work that fails to reach the descriptive-historical-critical level of texts such as _Conversations with Goethe in the Last Years of His Life_ or the refined poetics of _The Last Days of Immanuel Kant_ by E.T.A. Hoffmann. These works, written by disciples with profound love for their mentors and a palpable respect for their audience, demonstrate a meticulousness and care that this documentary fails to emulate. The lack of a clear narrative and the evident lack of preparation end up undermining what could have been a powerful and moving testimony.