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⭐️ | Best Price | go . 25mg-50mg-75mg-100mg and other / Online Pharmacy, Guaranteed Shipping. 24/7 Phone Support. Buy Diflucan In capturing its honesty, the film forgoes the typical testimonial approach and employs a very disciplined use of (save for a few unsteady shots on a moving bus) still camerawork. Often set-up at wide angles and/or long shots, this simple film technique gives off the feeling of a security camera at times.

| Discounts🔥 |. Find Latest Medication For This pill Now! ☀☀☀ is Augmentin 875 Discount ☀☀☀,We collect what you are looking for here.. Buy But the film is not to be dismissed for what some may perceive as cinematic ineptitude. The level of intimacy between Dina and Scott that the film makes way for, without the usual judgment of close-ups and contrived editing, is to be lauded.

Despite the photography and its ingeniousness, the technique simultaneously exposes the film’s biggest shortcoming, which is its seemingly wandering aim at tapping into its story.

While Dina’s life is interesting in its own unique way, the mundanity of it isn’t particularly eye-catching. Surely, there is her autism, Asperger Syndrome to be exact, which raises attention in the film’s first moments; and likewise, Scott, in addition to the rest of her social circle, suffers from some form of the disorder as well.

But “Dina” is not about living with autism. It pretty much takes watching the film’s first half, which is greatly made up of independent vignettes, to get a good sense of what it is about. This is a direct result of the filmmakers simply putting the camera in a corner and letting the subjects’ lives speak for themselves.

(The amount of time spent shooting, sifting through said footage, and then editing to carve out the film’s final narrative had to have been lengthier than normal.)

But there is certainly a mesmeric draw to Dina’s story, which reveals itself significantly towards the end of the film, though won’t be disclosed here. It is highly questionable why the film isn’t more focused around this draw.

More importantly, the film makes no attempt to discuss or show any reform or rehabilitation efforts that stemmed from it.

This would have, at the very least, helped better contextualize the strain in Dina and Scott’s relationship— why Scott is so accommodative and supportive of Dina’s sporadic, and often extreme, bouts of insecurity.

Perhaps there isn’t more physical evidence on the draw than what is displayed in the film. Or maybe Dina and the other parties involved didn’t want to address it directly. In any case, containing the most gripping aspect of Dina’s life challenges the film’s potential of a wider appeal.

Or perhaps a wider appeal is not the point. Like its main subject, “Dina” is quirky, idiosyncratic, comedic and unapologetic in its position on reality. It’s in theaters now.

About Mikal K. Odom 20 Articles
Mikal K. Odom is an out Philadelphia-based, multi-talented African-American director, screenwriter, producer and actor of film and stage. His first feature, LUV DON'T LIVE HERE, premiered at qFLIX Philadelphia 2015 and won the Audience Award for Best Feature. It is distributed by Breaking Glass Pictures and online. He is currently writing his second original narrative screenplay.

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