No paremos de bailar

The scouts

It's a grief film doing exactly what grief films do—tender widower, daily ritual, the absence made presence. Competent, sure, but I've seen this premise win festivals already; there's no premise here that makes me say 'wait, WHAT?' just 'yes, I understand.'

Ramirez locates himself in a lineage of intimate portraiture—Koreeda's quietly devastating domestic spaces—and the formal restraint feels earned; three minutes of a man preparing to dance is a study in economy and emotional architecture.

The choice to show the preparation—the careful dressing, the invisible partner he's reaching for—rather than the dance itself transforms this from sentiment into something sculptural; it's one cut away from melodrama and lands in something true.