The problem overall is that Moretti, despite his acting role and his credits as writer and director, seems unwilling to inject anything of himself into the film. It’s unusually po-faced, with hardly any humour.

Dubious sexual politics make us wonder if Moretti is out of time, or just needs better material.

Through these twists and turns, in some places reminding you of explicatory TV dramas, the characters learn, as we have always known, that suspicion and guilt make bad companions, and only when you let go completely can you be free.

On the surface, Moretti chooses to configure a triptych about families in crisis that, on its most transparent side, remains located in a comfort zone occupied, mostly, by characters who are as flat as an apartment's door. [Full review in Spanish]