Regina Pessoa made only 4 films in 20 years - “A Noite”, 1999; “Tragic Story with Happy Ending”, 2005; “Kali, the Little Vampire”, 2012 and “Uncle Tomas, The Accounting of Days”, 2019 - but they were enough to create an authorial identity in international animation cinema. A few seconds of viewing any of these four films immediately takes us into Regina Pessoa's cultural and aesthetic universe. Many spend a lifetime looking for that identity without ever finding it, while Regina seems to have achieved it in her first film. Being something impressive, the questioning about his creative process has been a constant and Regina has not shied away from it. However, as with great creators, the best way to respond arises almost always through the hand of their expressive preference, that is, the expressive medium of choice, and that is what ends up making this his last film “Uncle Tomas, The Accounting of Days” so relevant, and perhaps the most important of all. The engraving on plasterboard offers a very unique movement (lines that fill the shapes and move). Glued to this visual movement, then the particularity of his character design arises, resorting to a fusion between the geometric and the organic of texturing and which guarantee him a particular strangeness, something that has been accentuated with the evolution of his character design. Finally, and still in the visual field, we have the domain of light that is used to accentuate textures, but especially for the production of shadows and their elevation to central elements of the scenery. All this plastic framing goes beyond the mere visual identity and serves a communicative function that is denoted by the particularity of the stories told, but essentially by the chosen narrative motives and their tone. In other words, the fictional universe of Regina Pessoa's films circulates around characters highlighted by normality, not because they want to, but because they are voted by society, and their stories function as ways of verbalizing the interior of these characters. Therefore, the visual component turns out to be so relevant, since it is the main responsible for taking care of the tone of the feeling of its characters. Basically, we are talking about a deeply expressionist approach, which stood out in the German cinema of the 1930s (20th century) and which tells us that Regina's cinema is a deeply sensorial cinema. In this sense, we can say that his latest film, “Uncle Tomas, The Accounting of Days”, improves all his language, all the elements rise technically, ending up opening new directions, but without losing the roots and aesthetic functions of your identity. On the other hand, the chosen theme, which for me goes far beyond the special uncle, because it accounts for the genesis of the creative process itself, ends up further exposing the entire affective component of the work. When the last pictures appear and we recognize the author's hair in the traces of the animated shadow, it is impossible not to feel a touch, almost a shiver, by the deep connection established with the author. It should be said that, because Regina makes a very expressive cinema, a good part of the viewers may not have an immediate relationship, namely if they stop in search of explanatory logics of the characters or if they are waiting for very conclusive narrative twists. If you do not know Regina's work and feel that distance, I advise a second and a third vision to be able to enter the universe and begin to feel the pulse of the animated text. Nelson Zagalo