In her feature film debut, Dutch director and former biophysicist Stefanie Kolk presents "Milk," an intimate exploration of grief and physical trauma. The film premiered at the Locarno Festival, where it attracted attention due to its subtle but striking visual narration. Through the story of a young woman whose body continues to produce milk after the stillbirth, "Milk" addresses the question of how the body remembers loss and how the process of grieving becomes physiologically tangible.

The film is characterized by a restrained approach to emotions, relying on minimalism and silence, which contributes to its atmosphere, but at the same time makes it difficult to have an emotional connection with the protagonist. Kolk opts for a highly restrained and distanced style of storytelling, choosing visual minimalism and silence as the basis of the film, but it is this approach that makes it difficult to have an emotional connection with the protagonist. Robin (Renée Soutendijk) remains a distant figure, and the narrative structure, while thematically intriguing, fails to always keep the viewer engaged. The plot is kept to a minimum: Robin continues to work in the hospital, performs routine actions and faces the physiological consequences of pregnancy that did not result in life. However, due to the lack of internal development of the character, the film sometimes seems static, without a clear dramaturgical progression. One of the most suggestive aspects of "Milk" is its use of physical details as a narrative tool. Through repetitive scenes of breastfeeding and pumping milk, Kolk not only emphasizes the physiological dimension of motherhood, but also explores how the body becomes a place of conflict between instinct and loss. The scene in which Robin sits in silence and watches the milk drip into the sink is particularly powerful, underscoring the absurdity of her condition and the feeling of being lost. Also when Robin pushes the milk bottle on the table, only for it to come back to her, as if her body does not even allow her to get rid of the past. Although milk is a symbol of the body's memory and the unbroken bond between mother and child, the film treats it almost mechanically, leaving it questionable whether physical pain can really convey emotional intensity. Can minimalism itself be enough to show sadness, or does it require more space for inner drama and conflict? This lack of feelings is also expressed in the relationship between Robin and her husband. Their dynamics seem restrained to the point where it becomes emotionally flat. The scene in which the husband tries to talk to her, but the conversation does not go beyond the formalities, illustrates how their relationship remains superficial despite the joint loss. The film gives the impression that much more tension could develop between the two, especially at times when there would naturally be conflict or different grieving processes and thus their interaction remains almost sterile, without a deeper insight into the common pain or distance that could occur after the loss of a child. The auditory elements of the film further intensify the feeling of internal turmoil. Instead of a pronounced musical background, Kolk relies on ambient sounds - quiet breathing, buzzing of medical devices, dripping milk. One of the most memorable moments is the one in which the silence of the hospital room intertwines with the sounds of Robin's body, emphasizing her isolation and entrapment in a process that constantly reminds her of loss. With this approach, the film achieves an exceptional sensory presence that allows the viewer to feel the physicality of the protagonist's condition, but the question remains how much this style manages to convey the emotional intensity of the story or leaves the impression of cold analysis without a stronger narrative substance.

In conclusion, "Milk" is a film that boldly deals with a difficult topic, relying on visual and sound solutions that make a strong impression. Nevertheless, its restrained and contemplative approach will not have the same effect on every viewer. Although it manages to convey how the body responds to loss, it remains questionable whether minimalism can really capture the emotional complexity of such an experience?