As expected, given the source material and Oriol Paulo’s curriculum, ‘Los renglones torcidos de Dios’ is a film that plays on confusion and doubt. The idea is to not be clear about what is real and what is not, since, given the source material and Oriol Paulo’s resume, each revelation or twist always feels threatened by the suspicion of a new revelation or twist. Make the viewer’s mistrust the best asset. And so for about two and a half hours, so entertaining that they don’t seem like two, in an exquisite adaptation of Torcuato Luca de Tena’s novel that keeps what seems important and discards everything that doesn’t have to be. By the way, she gives Barbara Lennie one of those roles that may not define her as an actress, but what they like to consider “a movie star” in places like Hollywood. Oriol Paulo knows what he is doing, and he is clear about what he wants to do. With treachery and premeditation. ‘The crooked lines of God’ is defined as a stylized, highly efficient and very dynamic work. As manipulative as it is elegant, once it settles down it works like a roller, overflowing with the magnetism given off by a shellfish whose hands you can’t stop looking for a trick you can’t find. It is not so much a great movie as an even better pastime, in a talkative and addictive distraction that plays, with treacherous and premeditated, confusion and doubt, blessed doubt that prompts us to question to what extent any certainty is or is not, and to what extent we prefer questions to answers while Paulo, Lennie and also Eduard Fernndez continue to feed their respective legends.
By Juan Pairet Iglesias
@wanchopex
