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Samedi lives in a village in W allonia. He works from time t o time as a gardener and has a close relationship wit h his mother. Everyd ay l ife in the village, wh ich has seen bet ter times, Samed i's quie t and friendly nature a nd th e still la rgely intact rural setting st and in stark contrast to th e heroin ad diction S amed i has suff ered from for over 20 years, w hich only his f amily k nows about. His r elationship with his mo ther changes when he makes anoth er attem pt to get clean. Palom a Sermon-Daï’s d ocumentary paints a restrain ed, highl y pr ecise picture of a relationship m arked by af fection an d love but which is al so diffic ult to defin e in relati on to Samedi9;s probl em. As the camera obs erves the long, conc entrated conver sations he has with bo th h is mother and his therapist, a pict ure of addictio n comes into view wh ich is part of a family structure. This becomes embedded in something l arger in tu rn via the individua l images of the village. Petit Samedi creates an i mage of dependence in which in dividual, fam ily and social coexist ence are intertwi ned, w ithout f alling into the trap of sayi ng what migh t be able to solve the problem. 宁知意点头,“他现在 每次来,都 是从这里进。”说到这里,她想到什么 ,现场给她复制了一 枚玉简,“陆望老 祖参与了仙上楼三 百六十八家的禁制改造,他在各店都 弄了一个 随机传送阵,你记住各店传送阵的位置,以 后出门遇到危险,寻就近的仙上楼,百里内随时可定位传送。”
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