The movie possesses certain merits, but its protracted pacing renders it nearly unbearable for viewers. There’s been a surge in films centered around missing persons, and while not a frequent subject within Portuguese cinema, audiences can readily recall several foreign examples of the genre. The challenge lies in offering something fresh: either invent a truly unconventional approach or create a film grounded in reality, demonstrating respect and accuracy regarding actual events. Marco Martins opted for an alternate route; his film draws from publicized real cases but doesn’t depict any specific occurrence and strives to present itself as original. It's important to acknowledge the efforts of everyone involved. I often critique Portuguese cinema, but recognize that filmmaking within Portugal is akin to an intellectual act of defiance. With “Alice,” Marco Martins made a commendable entry into the world of film and garnered significant praise at various international festivals. The movie’s strengths rested on four solid foundations: a compelling initial concept, superb cinematography, a capable lead actor, and a distinctive soundtrack. These are noteworthy elements that deserve recognition in any review or analysis of the film; however, they don't quite elevate it to the level of a truly good production. Portuguese artists possess a certain creative flair but often struggle with narrative storytelling, which may explain why technical aspects and visuals frequently overshadow the story itself in their films—something I fundamentally disagree with, as cinema should primarily be about telling a captivating tale. Nuno Lopes delivers a courageous performance as the central character. Though well-known to Portuguese audiences through television work, he also has an impressive background in theater and film, proving himself a skilled professional. He convincingly portrays a father’s desperation while searching for his daughter and clinging to dwindling hope. Unfortunately, he carries much of the weight; Beatriz Batarda lacks sufficient material or screen time to showcase her abilities, and the remaining cast members are given such underdeveloped and uninteresting roles that their presence feels almost superfluous. The story begins with an intriguing premise: Alice’s disappearance and her father's relentless search for any clue leading to her whereabouts. However, Marco Martins excels at directing but seems less adept at scriptwriting; he failed to remember that a strong idea alone is insufficient—it requires development, a convincing progression, and a satisfying resolution. The film suffers from numerous unresolved issues and plot holes. For instance, where are the police? Why wasn’t the father informed that recording images without consent in public is illegal? Why isn't there more exploration of the relationship between the father and Alice's mother? And why repeat the routine of the day she vanished if it's already clear this won't aid in finding her? Technically, the film employs a muted visual style that reflects the psychological state of the protagonist. Lisbon’s urban environment appears bleak and lifeless—a stark contrast to its usual vibrancy (as Lisbon is typically an open and bright city). I appreciated this choice, as did the mournful piano music composed by Bernardo Sassetti, which amplifies the film's sadness. Nevertheless, the slow, almost plodding pace becomes exhausting, and when combined with the cinematography and music, it feels more like a dirge or a cure for insomnia.

Source on TMDB