The repetition of an activity can sharpen you, but there's a common and possible side effect: numbness. In the beginning, everything is enchantment, colors, and excitement for the new. Speeches never seen before and fresh feelings being stimulated. Discovering yourself in a new activity is like seeing the future unfolding. With time comes the proficiency of someone who has learned to select truths among platitudes painted with authority. With movies, it's the same path. After watching thousands, your gaze becomes disenchanted, and flowery promises with wind or ideologies masking lack of talent no longer seduce you. But from time to time, increasingly rare, among heaps of goodwill with dull shine, surprises of condensed intensity emerge. Unusual approaches revealing new perspectives. Artists with empathy, intelligence, and sensitivity, with their own gravitational field. The short film "Noora," by Finnish director Anna Kekkonen, is multifacetedly delightful. The film centers on the relationship between Noora's dance and a lake. Noora has congenital bone fragility. Osteogenesis Imperfecta. And in this particular case, it's not a mild disability. It's not something imperceptible, that with little effort will make you walk unnoticed in a crowd. It severely affects her movements and physical development, and for the vast majority, it can be seen as an unbearable prison. Maybe it is. And maybe that's why contemplating Noora's eyes and movements, floating on the lake, is like feeling freedom in a state of almost pureness. It's not an exploration of her disability; it's diving in and sharing with her a point of extreme beauty. Extreme, unique, and impressively delicate. Noora's dance is not a rehearsed choreography to enchant audiences and judges; it's a celebration of life's endurance and resistance over pain and death. And all these moments were carefully enveloped with photography as soft as it is dreamlike, bathed in the excellent music of composer Joonatan Portaankorva. "Noora" is not just a great work of art but also a model to be followed on how to work with an emotive theme, not using it as a pamphlet-like exposition, but as a legitimate lesson on cinema and the human being.