The primary human we meet is Marco (Simon Wisler), his huge again and shoulders complementing a silent presence. He bonds with the cows that he works with on a farm, together with one named Freida. It’s no diss to say that Marco is basically a cow—transferring alongside from one place to a different, with the identical mild silence. When one of many cows that Marco is working with on the farm is taken to slaughter, it scares him like a premonition.
Marco is cared for by his new spouse, Anna (Michèle Model), who works at a restaurant/lodge hybrid, and in addition serves as a mailwoman for his or her small city. Care could be an understatement—she upholds him, she tries to make him an individual. And she or he has no good compass herself, given the corporate she retains with one of many restaurant’s patrons typically, in a worldview left unstated. “A Piece of Sky” doesn’t care about moralizing however presenting every part as it’s.
In the future, Marco will get into a bike accident, which results in a CT scan that detects a mind tumor. With just some phrases, the physician paints an image of what’s subsequent, together with a scarcity of management on compulsions. Marco will get surgical procedure, and we see an enormous scar on his head. He struggles to work, to have a function.
Marco, regardless of his hulking measurement, begins to attenuate; now it’s Anna’s shoulders that we observe behind via the spare snowy panorama, as she decides what actions are proper with the burden that Marco has introduced. The movie doesn’t romanticize the connection, her selections, and even the polarizing empathy that makes for a hanging third act. However the humanity does resonate in between the casually wondrous components of this world: Koch provides us a lengthy shot of bales of hay zip-lining via the clouds and crashing into the middle of the body, as if dropped from the sky.
Koch is restrained with music, however at all times makes you respect its presence. Haddaway’s “What’s Love?” reverberates all through the movie, not simply because it’s performed twice as we see Marco and Anna in marital standing—dancing at their wedding ceremony, and later driving, her hand on his shoulder—however as a result of it does not really feel so misplaced. Its title query is so honest. And since there are so few guidelines on this story, Koch wields a barely fantastical contact by bookending dramatic passages with a choir. Blocked with precision within the alpine panorama, they sing in immaculately framed broad pictures in entrance of waterfalls or on a seaside about an individual’s downfall, and the afterlife.
