On this page: MY HEART GOES BOOM | THE NOISE OF MACHINES | THE POP SONG

< < F O R E I G N > >

With fearless comical physicality, Garcia-Jonsson is lovably perky as Maria, a woman who is overwhelmed to have both a gorgeous man and her dream job. The almost absurdly handsome and good-hearted Guallar's Pablo is caught between Maria and his father and needs to develop a backbone. Meanwhile, Echegui brings a blast of sparky attitude to the whole film. And refreshingly, Maggio's character is a thoroughly nice guy, never remotely vilified.

While much of the film is cartoonish and rather silly, and there's never much of a doubt where it's headed, there are serious issues underpinning everything. Without pushing the point, the film explores the hypocrisy of prudish censorship in an industry with a history of sexual harassment. And the moral dilemmas in the script add involving textures to the big moments along the way. That said, it's the romantic storylines that win us over with charming characters and an endearing range of highs and lows.

themes, language

6.Nov.21 rff

Naylor has a terrific offhanded attitude as Alexandre, a guy who's tired of being judged for his private actions. He may have an obsession with handcuffs and other restraints, but that doesn't mean that everyone should know about his private activities. His growing relationship with Adalbjorg is nicely played, as Bjork maintains an enigmatic quality that makes their connection more suggestive than romantically sparky.

When he finally gets to tell his story, Alexandre recounts how he became a customs agent with no experience, then was given a gun because of a change in the law, turning this into a job he'd never actually wanted. At the centre of the story is his quest to be who he wants to be and find his place in the world. Along with some genuinely unsettling violence, the film's energetic tone and clever points of view offer some powerful commentary on the topic. So where the story goes is deeply haunting.

themes, language, violence

5.Nov.21 rff

Performances have a relaxed honesty that brings the improv-style discussions to vivid life. And Portero's world-weary Simon provides an intriguing perspective to the wider group interaction, feeling like an outsider in his hometown. Each actor is excellent, with standouts being Lamis' chatty Leon and Cervero's straight-talking Maria. And in a more elusive role, Suau finds wonderfully insinuating chemistry with Portero, especially when they finally get a chance to speak to each other.

These are people who have known each other for a long time, so they can't really hide anything from each other. The film is a remarkably astute blending of earthy comedy and dark emotions, remaining engaging because it's so naturalistic. Everything may be fuelled by a sense of grief, but it's forward-looking and thoughtful, knowingly grappling with that feeling that perhaps it's time to move on. And the script also recognises that there are often embers from the past that still mean something.

themes, language, drugs

4.Nov.21 rff