Among the works that question how fragile the concept of justice is and how cruel a world goodness can face, this film by Frank Darabont acquires a permanent and Deceptive place for itself. Based on the novel of the same name by Stephen King, this three-hour journey begins in the atmosphere of the Great Depression of the 1930s, in the sweltering heat of Louisiana, in a corridor of death and immerses the viewer in an unexpected internal reckoning. Paul Edgecomb is the death row guard. Every day, they lead the prisoners through that famous green corridor, knowing that those who cross over will never return. This seemingly routine existence is radically shaken by the arrival of a prisoner named John Coffey. Coffey, alleged to be the killer of two little girls, harbors a completely different soul behind his massive body and frightening physical presence. He is fragile, he is loving and make him witness something that an ordinary person cannot explain when you allow yourself, you begin to understand what this film wants to do to you. As Darabont Decamps to the world of King again after the Shawshank Redemption, he brings a different question to the screen this time: the deep gulf between guilt determined by the system and true moral righteousness. Elements of magical realism work deeply into the story, but the film never turns into a fantastic escape; on the contrary, everything supernatural confronts the viewer with a more intense reality. Tom Hanks puts aside his usual charisma to deliver a quiet, sincere, and weary performance. The main burden shouldered is Michael Clarke Duncan's Coffey comment; every time the camera gets close to his face, you feel something flowing through the screen, it's hard to define, but you feel it. The film looks at injustice not with anger, but with sadness. This sadness accumulates, multiplies and silently overwhelms the viewer in the last scenes. The long-form narrative never feels weighed down because each scene exists to build upon the next. This film, which hovers in the minds for days after watching, inviting us to talk about the human capacity for kindness and the strict mechanism of the judicial system, continues to be one of the most mature and courageous dramatic works in the history of cinema.