Welcome to the first of the chronicles that we will dedicate day after day to the 69th edition of the Seminci – Valladolid International Film Week, the second that a server will cover for El Séptimo Arte.
'My favorite dessert' – There is something that I love about going to festivals like the Seminci in Valladolid, and that is facing films like 'My favorite dessert' from the most absolute ignorance. Life simply puts it in front of you without you knowing or wanting to know what to expect. And to let yourself be surprised (for the better). For example, life puts Mahin, at 70 years old, in front of a taxi driver named Faramarz. A premise that takes time to gain body and character, and to develop with careful and sweet delicacy. After all, we are in Tehran, in Iran. And we all know, or should know, that out there they are very strict and/or extremely traditionalist with an endless number of day-to-day things. 'My favorite dessert' It is a “yayos” film, calm and calm, about second chances, about the possibility of starting from scratch regardless of age, tradition or a political system that in one way or another always restricts our freedom. A subversive and subtle song to freedom wrapped in a transparent staging that leaves a strange and bittersweet but stimulating residue… and I can read that far. ******* 'The kitchen' – The new film by Alonso Ruizpalacios places us in “the kitchen” of a restaurant in the city of Manhattan during lunch time, where cultures from all over the world converge. The new film by Alonso Ruizpalacios whose prominent work ends up overshadowing the film itself, an overwhelming audiovisual torrent marked by the Mexican director's constant outbursts of virtuosity. A “great banquet” after which one ends up somewhat stuffed, with its more than two exquisite hours of footage becoming as long as an eternal family dinner. More than anything, because Ruizpalacios seems to be more interested in highlighting his social, political and work message and his own work than the large group of characters that inhabit his multicultural fast food UN. Thus, this authentic recital full of drive, ideas and ambition ends up lacking a plot and/or dramatic plot that, as they say, and like good bread, can hold up to everything and give foundation to the food. In this way we are left with a work full of theatrical virtuosity that ends up falling a little into the same thing it denounces: Its own dehumanization. That is, a tasty but somewhat indigestible banquet that one devours rather than enjoying. ****** 'Summer in December' – Carolina África, in her debut as a filmmaker, has had something practically infallible in her favor: A cast headed by Carmen Machi, Bárbara Lennie, Victoria Luengo and apparently in her debut on the big screen, also Beatriz Grimaldos . The four of them, together or separately, are enough, like good bread, to sustain this “family comedy” in a feminine key about the small miseries and greatness of life built from small brushstrokes of everyday life. A day to day that except for the destiny of a particular character, is nothing more than that: A day to day without a marked beginning and end, wandering like an anecdotal picture with a good background but a short journey and little substance. It is, basically, a pleasant, friendly and very easy-to-watch film whose results, to tell the truth, match perfectly with its very slight but honest ambition. It is, a bit, like when you put together players like Neymar, Messi and Luis Suárez on the same team: The least important thing ends up being the tactics. Although from time to time Antonio Resines appears there playing Antonio Resines, it is not very clear why or for what purpose; perhaps, to make it clear that in Madrid, in December, you do not have to wait for the sun to rise. ******
