[Berlinale '25] Taking a direct but overly underlined look at a mother and her children fleeing from their abusive partner, the film is too unsubtle to avoid the shadow of television melodrama. Featuring a powerful performance by Shirley Cuz, it highlights the relationship between mother and daughter, which transcends the mother-child bond to adopt a sorority connection, a relationship that is symbolically political in terms of the demand for personal freedom. The image of capitalism invaded by families in a building that had been abandoned for 20 years is one of the most powerful representations in a film that takes a humanistic but overly simple view.