All the central figures, patients included, are frontline essential workers, and the pandemic’s disproportionate toll on people of color is a central concern of the doc.
The film traces the setbacks and progress of two patients, both young and raising families. We rarely hear their voices — during their time in the hospital they’re either on a ventilator and unconscious, or too enervated to speak. And yet a strong sense of who they are comes through, thanks to glimpses of them in better times and the extraordinary in-the-moment camerawork of helmer-DP Heineman and his intrepid team of cinematographers .
In moments of consciousness during their long, difficult bouts of illness, both patients express a powerful will to get through the ordeal and return to their families. Brussels’ husband, Japh, also a nurse — like every adult in their Philippine American extended-family household — can’t visit his wife or his new son in the hospital, and worries about his asthmatic daughter contracting the virus.
At the other end of the spectrum, the camera captures the exultant mood among the nurses each time a patient is well enough to be taken off a ventilation machine; they mark such occasions by playing “Here Comes the Sun.
Source: Entertainment Trends (entertainmenttrends.net)
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