The first Jordanian has been marked by the film by the director of ‘The Minimum Island’ and two other titles that compete for the Golden Shell: ‘Runner’ and ‘Wild Sunflowers’. In Perlak we see ‘In the margins’, ‘Peter von Kant’ and ‘One year, one night’.
Start at the end. Like a prediction of the flight that will happen in a week, when the Golden Shell and its silver sisters have owners and the hundreds of people who have come to San Sebastián leave in a stampede. A festival, the 70th edition already, which has kicked off its Official Section with a film that has its germ in an escape: that of the prisoners of the Modelo prison in Barcelona in 1978. But there are still days left for that massive escape from the city of the Basque Country and it is our turn to start the tour of the Donostiarra contest.
The director Alberto Rodríguez has been in charge of opening the Official Section -out of competition- of the San Sebastian Festival with Model 77. He and his usual collaborator, the screenwriter Rafael Cobos, began to pull the thread from the real escape that occurred in 1978 in the famous prison of Barcelona and discovered something of which there is hardly any memory: a movement of prisoners who fought for their rights behind bars. Thus, the filmmaker the minimal island -10 Goya awards in 2015-, he has directed his new feature film in which he repeats with the actor Javier Gutiérrez and which features Miguel Herrán as the protagonist.
Model 77what hits theaters on September 23follow Manuel (Herrán), a young accountant who enters Barcelona’s Modelo prison as a prisoner for embezzlement. While awaiting trial that never comes, the protagonist could face a disproportionate penalty for the crime he has committed. To this must be added the harsh conditions faced by prisoners and the poor treatment they receive from the prison officers. But then Manuel meets Pine tree (Gutiérrez), his cellmate, and together with him and another group of inmates they will shape COPEL (Coordinator of Spanish prisoners in struggle). Thus begins a war for freedom.
‘Model 77’: the prison drama based on real events from the director of ‘La isla minima’ with Javier Gutiérrez and Miguel Herrán
Rodríguez, who has become a chronicler of our recent history, he knows perfectly how to handle drama, tension and suspense so that when a blow comes it hits you real hard in the face. In Model 77the director imprisons the viewer within the prison walls. No exit. There is no light beyond the prison yard and there is no street other than what is seen through the bars of the windows. With this, Rodriguez turns the experience of seeing the film into something claustrophobic and, at times, even cruel and violent. The film plunges you into the corridors of the prison, in its internal hierarchy, in the affective and interested relationships between the prisoners and, of course, in their betrayals. You are one of them and living it so close, despite the fact that fiction and the screen act as a wall and a border, is raw and uncomfortable. But also necessary. Model 77 it makes us reflect, encourages debate and discovers a fact of an era, that of the Transition, in which not everything was done in the best way.
part of the greatness of Model 77In addition to the good hand of Rodríguez, it resides in a magnificent Herrán and a tremendous Gutiérrez -perhaps the actor has ever been wrong?- in his roles as Manuel and Pino. It is also worth mentioning Jesús Carroza, the one in charge of interpreting The blacka character with whom Model 77 settles one of his most emotional and tender pieces and whose spirit permeates the entire film. In short, if we made a list of the essential spanish movies of the year, Model 77 is undoubtedly among them. A song to freedom from behind bars.
‘Peter von Kant’
Y Model 77 has inaugurated the Official Sectionin the pearls has touched François Ozon with his insula Peter of Kant. Based on the play by Rainer Werner Fassbinder, which was also made into a film as Petra von Kant, with a woman as the lead and Fassbinder behind the scenes.
The story of Peter of Kant it is that of a film director in love with himself who needs others to feel validated, who creates toxic relationships and falls in love out of necessity. His life, moreover, is pure posturing. Set in a single space, the protagonist’s luxurious house, the film has few elements and characters. Only his friend, his mother, his daughter and a young aspiring actor who becomes his lover walk through Peter von Kant’s life. The protagonist, played by Denis Ménochet, lives with the company of Carlos (Stefan Crepon), his butler and a very interesting character who looks like something out of a Wes Anderson movie. Karl doesn’t speak, but he has seen and heard it all. He only communicates by signs and bears the unbearable because he is an admirer of the director.
The way in which Ozon translates the play Fassbinder to the big screen maintains its theatrical germ and is a tribute and an ode to the director. Peter of Kant is a effeminate film in its form and with good performances, but that tries to do comedy and does not come out with flying colors. The film is there, yes, but nothing would happen if it wasn’t. Hopefully a ‘spin-off’ only from Karl.
‘One year, one night’
With great sensitivity and achieving an original story, Isaki Lacuesta narrates in one year one night the consequences of one of the tragic events that marked 2015: the terrorist attack of the Bataclan Hall. The new from the director, who won the gold shell -his second- in 2018 with Between two watersis part of the Pearl Section and it is an excellent portrait of the trauma of the survivors of the attack.
one year one nightwhich is inspired by the testimonies of those who experienced the attack first-hand, has as its protagonists the couple formed by ramon Y Celinethat they have a way of facing what happened in the opposite way: he, a Spaniard living in Paris, cannot stop reliving the event. She flees forward, rejecting him.
Filming terror for history: 11M, La Rambla and Bataclan hit the screen
Lacuesta, which shoots from a script written by Isa Campo and Fran Araújo, achieves some beautiful images despite from an event in which there is only ugliness. one year one night It is also a beautiful love story with the portentous Nahuel Perez Biscayart and Noémie Merlant as headliners. The film also features small appearances by Quim Gutiérrez and Natalia de Molina and marks the debut as an actor of C. Tangana.
The narration is set just at the moment in which the protagonists, clad in isothermal blankets, return home after the terrorist attack. The present of the film is the consequences of what was lived, but breaking off the experience of the couple in Batclan as ‘flashbacks’. No need to wallow in gunfights and violence, one year one night transmits and achieves a lot showing only one point of view of the attack: the one about the group of people who locked themselves in one of the dressing rooms. That suffocation and fear is still present in the day to day of the protagonists, who try to move on despite the fact that what they experienced is a tremendous turning point in their lives.. I’m still thinking about the final moments of one year one night. And I know I’m going to be chewing on them for a while. As if the title also served to describe the time that the impact of the film will last.
‘On the margins’
As a ration of social cinema within San Sebastian we find in the marginsJuan Diego Botto’s first feature film as a director with Penélope Cruz as producer and leading actress. Set in post-crisis Spain, the film follows three characters on a day that is going to mark their lives, each one for different reasons but all marked by the effects of abusive bank clauses, low wages and precariousness.
in the margins it emphasizes a saturated and resourceless system where social workers try to survive turned into gray beings engulfed by paperwork. It can be seen that at some point they were concerned about the well-being of others, but of course his involvement has been on the surface for a long time. “Not my problem” is what keeps them safe, and really, who can blame them? We are all victims and no one is an executioner because the shit has swallowed us all. Y, though in the margins it is not optimistic, it does show the power of the people. Where social services and public defenders do not arrive, citizen assemblies and the support of neighbors arrive.
This is where the film stands out. The action takes place in a hostile territory, but full of love. We find that heartbreaking strength of a mother who fights so that her family does not stay on the street, that hope of the lawyer who believes he can get anywhere, the unexpected vocation of a lost teenager, the mother who loves her son above of everything… They provide the humanity that a story like this needs. For this, Juan Diego Botto has the best. louis tosar and Penelope Cruz shine in their roles. As always, yes, but just because it’s something usual doesn’t stop it from being extraordinary. Special mention to Adelfa Calvo and to a newcomer such as Christian Checa, who seems to have inherited the naturalness in the interpretation of the cast that surrounds him.
In Illinois, the fields are barren and the skies are always about to storm. As heiress to a cold and distanced reality that is related to both Dreyer and Andersson, Marian Mathias has directed a film, runner –Official Section-, voluntarily famished and exhausted… In which, from time to time, we distinguish glimmers of hope.
Haas (Hannah Schiller) must bury her father, who was swallowed up by his own shadows (the ghost of a failed investment project, sanity lost between rounds of beer). She will move her body to her hometown, where there are barely a cemetery and an inn left standing, but the ceremony will be absurdly and indefinitely delayed. Haas (“rabbit” or “runner” in German) would like to escape from the sticky bitterness that flattens everything, even more so when he meets the young nomad Will (Darren Houle), but the blacks are deep and the whites are always broken. However, Mathias kindles the flame of affection in the smallest gestures: an old man falls asleep peacefully watching television, a waiter calls his client to see if he got home safely. Even in a world of gray there is room for affection.
beautiful youth, petra and now wild sunflowers… Jaime Rosales has established himself as the great master of naturalistic opera, virtuoso director of tremendous actresses. Today she will sign a film, also in the Official Selection- together with Anna Castillo, who gives life to Juliaa young mother of two, with a humble pocket and great emotional intelligence, although always involved in toxic relationships. wild sunflowers It is organized based on three of its partners, three men who vibrate differently, even on the same score of fear and ineptitude. Oscar He is a pimp-swimming pool, with more verb than mollera and pure chiquilicuatro aesthetics. frames he fulfills his obligations in the army, listens to opera and supports his family, which he equally neglects. Alexit just never is.
Rosales manages to balance the mix so that we get closer to them, but only a little: just as we would meet the future ex of a good friend. We accompanied Julia, and we laughed a little with her, and we had a bad time. Hence, far from judging her, we are happy when she finally finds some peace.
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