TIFF selection They Will Be Dust celebrates the symphonies of death in an arthouse musical, with a hyperbolic emphasis on instilling emotions of acceptance, love, and freedom in jagged yet explosive frequencies.
In ancient times, when death approached and the signal reached the heart, some would go into caves and live there, hoping that each passing second would give them the courage to liberate themselves into a permanent sleep. People believed it to be a “moment of peace” as they transitioned into rebirth, a conviction based on their own ideologies. In the same context, director Carlos Marques-Marcet presents another belief, perhaps even more nuanced than one would hope for.
Claudia (Ángela Molina) knows her time is nearing, and the pain from the tumor isn’t going anywhere; it’s just getting worse. Flavio (Alfredo Castro), Claudia’s long-term partner, is on the edge of the death crisis that’s affecting Claudia, realizing the significance of the future in her absence. A plan to visit Switzerland arises from Flavio’s mind, which triggers Claudia to say “Yes” on a chaotic day, but it seems to be an idea that was discussed by both beforehand. Is it for a memorable outing? Yes. But is it an exciting trip? No. Does it involve death though? Yes. With a correction, deaths.
If you’re imagining the film centers on mundane and melancholic sorrows lurking on the screen, then you’re totally mistaken. Partitioned into parts, Carlos Marques-Marcet explores the explosive minds of two aged individuals, particularly Claudia, who possess a dynamic form of energy, the ability to express themselves evidently and comedically with perfect clarity, and a harmony that is almost spirited in the film’s decor. They explore the themes of aging and mortality with a mix of excitement and joy, delving into the intricacies of death through complex emotions. Whether it’s acting out fictional characters, sharing worldviews, or engaging in life-or-death therapy sessions through conversation, they engage every situation with a veneer of self-discovery. Death imparts wisdom through examination, with each perception rooted in freedom and honesty, leaving no room for others’ courtesy.
The ups and downs of their lives contrast with the annotation of music and dance, infusing most scenes with arthouse musicals. The dance, which has the ambiance of a stage performance, transports them and us to an imaginative realm where death is celebrated as a joyous occasion. At a glance, it mixes La La Land, Plan 75, Guzaarish, and Dancer in the Dark in an almost parallel manner, producing a messy exposition that partakes in emotional epiphanies. Perhaps Carlos Marques-Marcet adds the musical element as an escape mode for these silently suffering individuals, immersing them in an alternate world of fantasy and dreams filled with artistic chaos— a way of understanding that provides a substitute for describing pain. The film also explores the bonding and detachment of family members, delving into dysfunctionality and the dynamics of adulthood. Nevertheless, the most bizarre impression that the film establishes is that stable emotions become too ordinary to notice when turbulent ones are satirically exaggerated, and we have to express our gratitude to Maria Arnal’s score and Ángela Molina’s captivating performance for enabling us to fully immerse ourselves in this peculiar ambiance.
TIFF Platform selection They Will Be Dust (Polvo serán) is a transformative drama synapsed into a coherent arthouse extravaganza. The film vigorously identifies the sanctuary of death, utilizing music, dance, and hyperboles to cultivate a form of optimism and vitality for a merrier goodbye, treating it as a celebratory moment. While each recurring part of the partition acts as an explainer to its predecessors, the truth here is that nothing is certain, even when you have worked out a perfect plan. This then leads to the final question: Could this be the image of heaven?
Explore our coverage of the 2024 Toronto International Film Festival here.
