Tiago Nery’s ‘Deep Water’ has that special unique taste of joy and confusion. The short is dealing with a very interesting theme that escalates as the narrative goes by. A man and a woman, naked inside a house. She doesn’t know who he is, he doesn’t know who she is, and they just wake up one day under the same roof. What is more interesting is that she doesn’t know who she is, and he doesn’t know who he is; they live in the real world as indefinite creatures, without having any clue what they are, where they are, and who they are.

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At first, we appreciated the idea of this short, tracking it back to authors like Eugene Ionesco or Samuel Beckett – the masters of the absurd. After all, the whole theme of 'Deep Water' is an absurd one that really deserves a more practical viewpoint. ‘Deep Waters’ is trying to astound the viewer with a new way of interpretation when it comes to the narrative, where the viewer is the one holding the pen and the paper, and the dramatic path is unveiled step by step with their help. But there is something about this short that doesn’t add up to us.

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Though the screenplay is coherent, we’ve felt like the movie needed another approach, one that really explores the avant-garde tint that can be seen from the very beginning. As it is now, Tiago Nery's project stands somewhere between soap opera and post-modern absurd theatre – there is a story, but not the one we expected to see. The ending is poetic, but coming after the silent-explosion that is the core of this short film, fades away into the ethereal grounds of human understanding.