Weapons Shows Intriguing Human Relationships in Mundane American Town Life
For those tranquil houses with white fences, what is happening behind every closed door?

A hybrid feature film that investigates contemporaneity through the body and its countless possibilities of expression and meanings. The film puts the body and the idea of the body in evidence, through metalanguage, articulation and confrontation of documentary, fictional and performative languages. The film follows the trajectory of the main character who uses her own body to formulate universes and investigate the meanings that are drawn in it. In a kind of subjective diary written on her skin, she records sensations and reflections, building relationships with thinkers, performances and archival materials, which lead her to other bodies and other stories.
For those tranquil houses with white fences, what is happening behind every closed door?
‘Exhibiting Forgiveness’ seeks to ask one question, “What do you do when your parents are the source of your pain?”
There is no aspect of this film that falls short, except perhaps in minor ways.
The film does not add anything to its own conversation or genre, and falls flat once it’s about to end and must declare some sort of conclusion.
Strangers in a crowd, exchanging glances, looking away, continually managing to run into each other then part ways, end up at the same diner, find they've rented the exact same vehicles, and are then made to travel together to learn once more whether they can both find genuine adoration and companionship again. This really does, in so many words, sum up the foundational gist of of this new feature film from writer Seth Reiss ("The Menu") and director Kogonada ("The Acolyte", "After Yang"). Yet, it's all only the set-up for the REAL wonder of everything that happens before, during, and in the aftermath of a magical, meaningful journey.
Tarantino's alternative history of the 1960's uncritically repeats the era's sexist and racist stereotypes.