"With a great sense of cinematic duration, this film builds its own universe, finding its own pacing, so consistently, to tell its particular story. A film that seems on the surface to be about death but which is really about love, a beautiful and delicate love story."

ROTTERDAM FILM FESTIVAL (where it got the Best film Prize, the Tiger Award)

WHY THE STAR AND SHADOW CINEMA PARTICULARLY LOVES THIS FILM

Some Star and Shadow volunteers saw ETERNITY at the Rotterdam Film Festival in January 2011, and they madly fell in love with this film.

While at the moment, Hollywood films are desperate to have more and more effects on screen so that audiences connect to what the film is painstakingly trying to communicate (louder explosions to scare you, more music to make you cry, more special effects to impress you, etc), ETERNITY does the exact opposite: no special effects, very long shots, cameras hardly moving, no music, hardly any dialogue, not much happening, very simple setting, very few actors, no plot.

And yet, you can connect with this film on a level that most Hollywood films will never manage to reach: it respects you as an audience, it's not invasive, it talks about love in the most sensitive and discreet way possible. It's not patronising or moralistic.

With its slow pace, its silence, its lakes and mountains, and while seemingly doing so little, it connects with you before you have time to work out what happened. It's just amazing.

It is a slow film, and you will have to be patient with it - but if you stick to it, it will just throw that magic spell on you.

It is really a film that you should watch on a big screen - visually it is stunning, and it has that kind of pace that is hard to sustain while your flatmates are cooking pasta next to you, that twitter is giving you precious advice on #howtolose24poundsinonehour, and that your mum calls you to ask how your cough is doing. You just need that special setting.

It's a very special screening - don't miss it.

The director's father died when he was a teenager. He grew up to be a filmmaker, directing several shorts, but, he says, “that memory came back every time I started a new project. The feeling of that death was always there.”