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by Cláudio Alves Autofiction is not a recent phenomenon, whether in film or other arts. Nevertheless, increasingly directors are dipping their toes into pools of navel-gazing introspection. For some auteurs, nevertheless, there has never been one other way of creating art. Take Mia Hasen-Løve for instance. Her cinema has at all times manifested as a mirrored image of lived experience, pulling from personal details in gradations of openness, extrapolating narrative honesty as a conduit for constructing humanistic pieces. Empathy is the tenet of her cinema,...