By approach, 'Dawn in Samaná' reminds a little of 'The tenderness'. Both are inspired by plays that take place on an island and have a slight fantastical touch. Just enough to develop her story: In the case that concerns us, that of a woman who has the opportunity to verify, live and direct, to what extent a small decision at a given moment can be decisive for a future that is still shared. . The summary in any case is more or less easy: Partner swapping. Bárbara Santa-Cruz starts out married to Luis Tosar and, because of things like those that happen in the movies, then she wakes up and is married to Luis Zahera. In practice 'Dawn in Samaná' It is a light comedy of comedy that, however, little by little becomes something more solemn, dramatic and existential, although the tone is not entirely well channeled. Nor the presence of Charles Dance. Even without losing its lightness, in its second half 'Dawn in Samaná' It becomes a little more serious, which reduces the pleasant and friendly impact of an initial section during which its theatrical base shines with the help of the aforementioned Luis Tosar and Luis Zahera. A stretch during which she is happy, playful and also trivial in a way that is as relaxed as it is effective. But of course, 'Dawn in Samaná' It wants to be something more… more relevant, more transcendent. A concern that results in a second section that, as usually happens in commercial cinema, is no longer so happy or playful. It continues to be seen easy and comfortable, and does not prevent it as a whole 'Dawn in Samaná' be a satisfactory production. But, given the packaging and his lack of insight, he would have won by abandoning himself to the fun that rhymes with five and continuing on vacation as Charles Dance undoubtedly was during filming. Because Charles Dance, I say, must have been found there by chance…