Siodmak has such great instincts - usually involving sequences of silent, character-driven action. the candy scene at Martin's house, his kid brother's final walk down the street after seeing him dead. This isn't his greatest, but he's quickly becoming a favorite director.
Haunting and elusive in the vein of Uncle Bonmee or Tropical Malady, but with an added immediacy brought on by it’s political context (not that Bonmee or Malady aren’t political). It’s so incredibly still, yet totally present, perhaps because of that stillness; every protracted frame is full of color and life that draws both Justino and the audience into the world he’s been forced to leave behind.