Coming to terms with death is a truly horrifying situation for many people, especially those entering their later years.

The idea of finally letting go despite never being completely satisfied with life is not only a daunting decision but also a truly painful one. Colombian director Ruben Mendoza's attempts to develop these ideas in his feature "Tierra en la Lengua" or "Dust on the Tongue," which is based on the Legend of Don Julio.

The film showcases the story of elderly Don Silvio, who is very ill and has asked his two preferred grandchildren, Fernando and Luca, to take him to his ranch in the mountains and kill him. Silvio's life has been one of tremendous controversy, as noted by his deceased wife in the film's prologue. But his desire is to end his life with some degree of dignity, and his decision is to do so at the hands of a family member.

As he notes, he has given his blood to his grandchildren, so he feels that they have the right to take his life away. In return for their collaboration, he is willing to make them the prime beneficiaries in his will.

But the situation is a bit complicated. His grandchildren are hesitant about killing him. Meanwhile other people, including the rebel forces in Colombia, covet Silvio's land. The film documents the growing conflict as well as the psychological turmoil surrounding such a complex situation.

The film's opening showcases a montage of home video made by Fernando about his deceased grandmother. She narrates her husband Silvio's life and comments on his emotional instability and his notorious habits. Shortly thereafter, she becomes a ghost that permeates the other characters' behavior and decisions. But the montage haunts the film in another manner: It is the high point of the entire movie.

The pace is generally plodding for the film's 88 minutes. The initial scenes of the film carry intrigue and weight as Silvio sets up his plot for his grandchildren. But after a while, the film moves about almost as if it were trying to waste its own time. It almost seems like the intention from Mendoza to make the viewer feel the lengthy agony that Silvio endures as he waits for his grandchildren to come to a decision, but he tires the view quickly. In fact, Silvio's ultimate decision to end his own misery does the same favor to the viewer.

Those waiting for something to happen throughout the film's running time will be disappointed with the constant repetition of behavior and lack of emotional progression. It seems that Mendoza repeatedly hits the same beats time and again.

Silvio gets angry and then feels excruciating pain. The grandchildren seem to care but then engage in some sort of risky behavior, thus putting off their agreement with their grandparent. Then the cycle repeats itself with some alterations. While it might suit Mendoza's thesis and emphasize Silvio's frustration and the ultimate motivation for his final decision, it hardly makes for compelling cinema.

Silvio is undoubtedly a complex man. He swears a lot, and his violent nature makes him a rather frightening presence. But even then, there is a great deal of vulnerability in Jairo Salcedo's performance that makes the character increasingly intriguing as the film develops.

There are some intriguing visual flourishes that emphasize Ruben's artistic maturity. Much of the film takes place at night with sequences that are clearly lit with the available light. As a result, the images are pitch black in many instances, with the lights from cars or lamps providing minor illumination. This seems to symbolize the fact that Silvio and, by extension, the audience are kept in the dark about the grandchildren's decision. It also creates a foreboding atmosphere that expresses the all-consuming darkness of death.

Mendoza manages to create a distinct mood piece in "Tierra en la Lengua," but the film's plodding pacing and often repetitive structure could prove tedious for some.

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