A husband loses his wife. In time, life whirls his son away and the two are separated by an unspoken distance of memory and unfulfilled redemption. Thus, alive but only physically, Fate builds a wall between the husband and the reconciled world.
By disquilifying the film for Oscar foreign-language nomination, the committee made an interesting but, alas, wrong point. They judged a film that tried and succeeded, in my opinion, to rise above nationality and language and place an importance on communication in principle. If Theresa was deaf and blind, then all other characters were mute - but by their own will or lack of it. The inability to find the right pace of the dialogue results in horrible consequences. In fact, the film consisted of so much dialogue: the speech of the touching palms, the new alphabet of Internet and mobile phones - ringing tones, and the signs of food! All characters spoke one of those languages and created a universal dialogue that needs no translation. And English - this was the foreign language a person learnt to speak without having heard and write without having seen.
Theresa's character is the thread that unites and generalizes the other three stories. She's the role model but also the hope: the last words of her autobiography that we see her typing transcend the message of the film - its welcoming and encouraging invitation to be with it, reaching out a hand of hope that might help us overcome destiny.
The theme of finding hope inside loss haunts the widowed-man segment, which, for me, became an example of the notion of refusing to reconcile with the death of a beloved one. The very tone of passive existence, pure existence in the biological and natural sense (the recurring significance of food) speaks of resignation, which substitutes desperation. It's an impulsive reflex of survival without the conscious necessity of it. Blurring death and life, the man sinks in blank everyday-ness. One could even go further and call it unfaithfulness - betraying the sacredness of marriage and its oath ("til Death do us part").
When separation is unwanted and against the will, it becomes aggressive. Such is the case in the other segment "So in Love". The mute communication in the first part ("Meant to be") opposes the flow of one-sided wordness here. Similarly, in the third part ("Finding Love") communication is never established - the unwritten letter, which is forced out of its path when finally created.
Let me then draw a parallel with Johanna's post on Je, Tu, Il...Elle and extract a joint similarity - broken communication. The inability of words and feelings to coincide and people to truly be with each other.