Después del diluvio

One way of summarizing this film would be: The eternal (non-)problems of two men and one woman, revisited. But that still sounds too dramatic for a work considered by its auteur to be expressly anti-dramatic. Maybe it would suffice on the level of narrative (and what more indeed is to be said about one woman and two men?), but certainly not on the level of aesthetics.
Just marvel at the green from which everything here seems to originate and into which it all tends to evaporate in the end. And let’s not get into the red! The red in a lampshade, a car, an overcoat. And the weird yellow of the woman’s car. Then there’s that dress of hers, yellowish at the bottom and turning ever greener towards the neck, while another dress has a white bottom and a light red top. It’s here that the tensions and passions of Después del diluvio are to be found.