The Last Suit does something visually interesting. Its present day scenes are in black and white while its flashback scenes are in colour. It’s usually the other way around. There are practical reasons for this. Mainly, that it uses black and white to hide the terrible makeup job on its leading actor Miguel Angel Sola. The filmmakers wanted to make the 67-year-old actor look 20 years older.

However, there’s a roughness to the present day scenes that symbolizes, albeit overtly, a man stuck in the past. The flashbacks, on the other hand, look crisp and current. I like the casting for these scenes. The actors there have modern faces instead of ones we usually see in period films. Since the flashbacks shows Jewish people in the 1940s, their faces remind the audience that these people were real.

Sola plays Abraham Burzstein, a retired Argentinian Jewish tailor. Present day Abraham has pressing concerns. His two daughters have decided to approve the amputation of his leg. They also try to stick him in an old person’s home. He, of course, has other plans, which involve him returning to Poland via Spain.

There’s a King Lear throwback as a subplot to this story, since there’s a third daughter. Her name is Claudia (Natalia Verbeke), and they stopped speaking because she refused to publicly declare her love for him. She’s the film’s clunky deus-ex-machina, bailing him out after an invisible thief breaks into his hostel room.

This is, again, a story about a man returning to his home. This has complications since some German soldiers drove Abraham out of his home. There are a lot of flaws to how the movie delivers his story. But the film understands the triggers of real people and how raw that is, and Sola performs that so well.