Friends

Paul cannot approach his father, mired in his business, without noticing that his son requires at least a few words, thrown out instead of attention by shouting at the door, to continue the battle with loneliness, not guilty of his mother’s misbehavior, the child hanging him around his parent’s neck , never taking responsibility, forgetting about the boy in an attempt to get rid of the memory of his wife. The conditional orphanage of the Englishman Paul is akin to the complete orphanage of the French Michel, who after the death of her father, who had raised her without a deceased mother, tried to get to live with her cousin, was tied to her freaky boyfriend, annoyed by the appearance of a youngster, with whom he was inclined to play only adult games, except for a hint family silence. Guys confronts with uncomplicated fantasy director, invented to fold a pair of otchuzhdentsev union of lovers, with substitutes for themselves the lack of attention of loved ones, becoming halves of family unity, which began as a joke, and which gave a start to the faithful following of another, dictated by the feeling fortified debt and the inspired happiness that they found together, the code retired together. They missed themselves. Others were not needed. By the will of the writers, the small cottage became for them an idealistic incubator of happiness, growing from patience and warmth, revelation and forgiveness - physical and spiritual labor, emotional outbursts and rational decisions in an atmosphere of sincerity and purity of thoughts, naive in the presentation of conscience and sin. Anise Alvine and Sean Barry have no contradictions. Without being surprised at the tricks of their characters, they are floating on the waves of their love on the pure air of visual contact and bodily communication, freed from society and have not known the decomposition of social networks. Independent and self-sufficient, defiantly independent and gaining strength to insist on their own. They are n...