The bold criticism of colonialism has been nearly two hours, almost twice as long, and a critical scene has made “I totally relaxed in the storm” a keen focus. The protagonist is a Portuguese engineer on the Guinea Peso project and meets a sex employee. He was not excited and tried to join her in provocative conversations as he tried to clean up the problem. When he loses time and tells him that what she hates her the most is good men, and when they care about the truth, they just need to care for themselves, and her disgust is correct.
This scenario encapsulates most questions about the thoughts of Portuguese director Pedro Pinho, especially the latest results of colonization in Africa, and the way modernization may be comparable to that of future methods. The film follows Sérgio Coragem, who was sent to Guinea Bissau, West Africa, to study whether the road mission between desert and forest is feasible. There, he met many people, and everyone opposed the mission. Some see it as a way to modernize and create jobs in this growing country, while others see it as the end of a way of life in the agricultural economic system.
Segio tries to connect with the locals he meets. Still, most people are suspicious of him and his motives. Some see him as a nuisance to get rid of, while others see him as a very shiny object trying to influence. Maybe they will earn from him or other goals of their own. In fact, the above-mentioned intercourse staff is most likely the most correct: despite this, his intentions are still passive and unaware that his priorities should be his priorities – for countries that were previously powerless, their replacements of kindness were attempting to compete for NGOs in overwhelmed countries, who did not perceive them.
From humor to overly dramatic, simple to stuffed with metaphor, there are many stories in “I’m totally relaxed in the storm” because the film follows Guinea Peso’s Sergio. Each of them acts like a separate vignette that might make a short film, like a short film show composed of many stories, some more powerful than others. Although the harsh scale of this feature manages to point out how colonization has been stored in past history, it also evaluates the persistence of the audience. In the example, Pinho contains a dry scene with tangential characters related to Digicam's history. The director never proposes a simple solution to his credit score, but it fairly puts the audience in the face of their biases. “I just relax in the storm” has huge ambitions, but is usually overwhelmed by all thematic issues it needs.
Except for Sergio, only two different characters relapsed throughout the process, each maintaining a romantic curiosity about him. The audience first launched to Dia, a charismatic bar owner (acted by Cleo Diára, who won the Performance Award for her efficiency in Cannes). In the protracted scenes of the seventies thriller, Sergio meets Diyala as she tries to escape from a busy market who follows her. She uses Sergio as bait and he is immediately fascinated by the stranger in his blonde wig. The opposite character is Guilherme or Gui (Jonathan Guilherme), a woman's non-binary Brazilian expat who travels to Africa to mention his ancestors more deeply. They developed into a challenge to challenge Sergio's motivation for the former colonial countries to come to the Guinea Peso.
Coragem's performance is pleasant, but no matter how he puts it in, the character has always been the least compelling specific person. Intentionally, he served because of the audience's surrogacy, but he was so passive that we had to care about his plight in every way. Due to their roles’ extra involvement, there are no more fares for Marvel Diára and Guilherme. They took movement and faced Sergio repeatedly. Although he seemed fascinated by everyone, he did not take any motions to build more relationships with the two, preparing them for the initiative. Segio's powerlessness is that all kind people stand on everyone, they will never take an agent stand and will discuss it fairly, rather than make a change, which is a tricky project for the actors, but the project inserts the subject with the rest of the film.
“I Only Relax in the Storm” is the kind of film that flourishes in a rare cinematic environment like Cannes, providing so many speaking factors that the audience quit films that long to argue with each other. It inspires, entertains and annoys in the same way, and therefore encourages admirers and critics. People hope it will pass the festival and enter local film festivals around the world, especially in the international south, where “I only relax in the storm” is likely to lead to the essentially the most passionate conversation, from people back to the role.
