Director’s Note
This is a very personal story. A year and a half ago my beloved younger brother was killed in an accident. My brother and I looked like twins, and lived an adventure-filled life together. We didn't have secrets from each other, or at least so I thought. This is a story of loss. Immediately after my brother died, I started writing. Some of my friends and family said I should leave it alone, because it only causes me pain. But this exact pain is the one that Inbar chooses to experience over and over, while deepening her relationship with her brother’s girlfriend, Maya. As Roland Barthes put it in his book "Mourning Diary": “I ask for nothing but to live in my suffering”. This is a story about youth. Youth is twilight time. If childhood is morning, and adulthood is night, the characters in my story exist at sunset. They know for sure that something is over and they are toying reluctantly of the idea of a new beginning. The teens in the film are constantly examining their boundaries: sexuality, friendship, dependency, loyalty, humiliation, and self-sacrifice. This is a story about love. I once read that spousal love increases twice as much when the couple loves a third person together - their child. If so, can two lovers of the same “child” bond together through an odyssey, and thus discover true love with each other? This is the way I see my story. Finally aims to be an exuberant, feisty, provocative, lively cinematic experience. I know this might sound totally contradictory to what one might expect from a film that is driven by mourning. Yet life has very little respect to conventions and expectations, and in my mind, movies should follow suit.