This exquisitely crafted biopic, directed by Christine Laurent, of Uruguayan poet Delmira Agustini-considered one of the greatest Latin American poets of the 20th century-and her convoluted life and tragic demise is a lesson in expert cinematography, sparseness and timing. It is a sympathetic portrayal of someone who at various times comes across impetuous and overindulged. The two central performances by the doe eyed Laure De Clermont-Delmira- and the matinee idol handsome Marc Ruchmann-her husband Enrique- are understated but effective in capturing the tumult which hounded their engagement and subsequently their short lived marriage.

The story develops around the lazy lifestyle of Delmira as she composes her poetry at her parents tastefully designed house and gardens. It is a life which seems to revolve a lot of lazing around creating complications and problems as is the wont of those who are overindulged. Her suitor Enrique is considered unworthy by her parents-in particular her emotionally devoid and aspirant mother- and there is a sense Delmira only plans to marry him out of spite. They are overjoyed when she postpones the wedding on its actual day but this is short-lived and eventually she does marry him. Seemingly passionate in the beginning Delmira tries to leave him within the first month of their union but eventually returns with tragic results.

Demain? moves along at its own pace never feeling hurried or forced, in a way that is similar to the writings of Flaubert. The cinematography is astounding shifting from the greyish hues capturing the languor of her existence, subtly shifting into monochrome and eventually vivid colour when she experiences her sexual flourishing. The palette shifts back to grey as disillusion sets in and these shifts direct the feel of the narrative almost as clearly as the dialogue. It is a film which meanders along in its own time drawing the audience into the lazy lifestyles of the protagonists who despite all their wealth and beautiful surroundings cannot find happiness or love and instead create problems which contributed in leading Agostini to her untimely and premature end.

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