致我母== 亲的死亡

　　Wh ?en=_*/ the film @+begi:ns, it is all over. +- “We know it’s te??;*rminal, and that’s_ all”, sa\?]ys Juliane of her mother Kerst=in, who is i]+_n grea
.t pa =,#in # and about to die %_%age-
d ?just 64.# Alth) ough.@@ the y.=oung docto:-:/r =$]-s@\he`: co=nsults ac?^*
know+_ledges -on a persona,%*]l l_evel t@hat e].veryone*$*\ * has t!\he =right to +
manage
@: ?their own d(^@e a)^th, h
`e noneth^.e/$less remind_;=s her \` that euth? %anasia is %still illegal in Germa@ny. This $;is even more t he case at the Cathol.ic hospice where Ker#s\;$tin is st+aying. ;,As relative/]s come to +sa=y;. goodb^ye*(__ to h
er  mother and th e emo@!ti#ons of.) memories mingle]
w!i #th the anti,)cipation of gr\]ie,-%f,% Julia ne finds.$% herself^+ hav/ing to do battle`: w+.ith time – unbendin g, apathetic and mo:nochrome`$ – ][a/nd this is 
-sup*,/er+bly [ =reflected+* in the.._ convulsio$

ns of the %\hand%:`h*:
eld came(r;a in wi?de shots.　　B^@ased`
*$ on personal experience, Jessica Krum!=m_acher/($’s; second feature film vividly relates the pain^ ful sto#ry+) of losing__ a pa #rent. Th^(ere is no violenc^e o``r morbidity, rath[ er ?;the director +describes the?- most? impo.r;tant o (f%@ even,ts via t?he smallest, most^.[ fragil,/e ?_?of details – the exch,anging of ,(wo^%.rd^_s, text;`s a$nd tender gestures t hat remai_n with us and g *et under ou%?/[r skin.