Neymar's world is based on four pillars: his family, mainly his grandmother, that accomplice figure, storyteller, partner in mischief, the one that gives him the smile that his mother seems not to have time for, much less an absent father. ; his love for horse racing that takes him to the racetrack every weekend and extends throughout the week in his games and fantasies; religion, the one that he does not fully understand but that he accepts as a family legacy while preparing himself by attending catechism; and his own imagined universe of street games embraced by the complicity and joy of familiar and spontaneous dealings with any of the inhabitants of his small town. Four pillars on which Neymar's world is founded and sustained. Four even columns, essential. Stable?

The Realm of God is a beautiful film narrated from a character as endearing as powerfully acted. The self-confidence, the innocence, the capacity for surprise, the freedom lived in some physical streets that are known and some corners that only he sees and lives in his head... It is difficult to imagine what is scripted and what is improvised in a masterful performance precisely for this reason, for the authenticity of a character who alone sustains the weight of an apparently simple film that delves into a childhood universe broken with regret and forever, when life shakes that terrain of childhood that we believe to be the safest and most eternal place.