At this point in the game, I think we all know why. With ‘Pain and glory’, in addition to having competed in the last edition of the Cannes Film Festival (where Antonio Banderas won the best actor award) and being the film that will represent Spain in the next Oscars, Almodóvar has filmed his great Magna’s work: an autobiographical account in which all his soul and his almost, almost 40 years of career are impregnated
As usual, Carlos Marques-Marcet has filmed in ‘The days to come’ (‘Els dies que vindran’), a new miracle film. Presented at the Rotterdam Film Festival and winner of the Golden Biznaga for Best Film in Malaga (and best director and best actress), the film starring David Verdaguer and María Rodríguez (what a discovery!) Is a bit of life and an in-depth analysis of motherhood and fatherhood.
The Santiago Segura film (which has just announced that it will have a sequel) is, for the moment (and we doubt that nothing will exceed it already), the highest grossing Spanish film of the year. Segura has definitely set aside the grotesque humor of ‘Torrente’ to devote himself to family cinema. And it seems that it has not gone wrong for Segura or Atresmedia, which produces ‘Father there is only one’: it has raised more than 13 million euros. And yet, it is well below what ‘Champions’ raised last year: more than 19 million euros.
It is another one of those miracle movies that we have been able to enjoy this summer, whose complexity lies in its beautiful simplicity. Jonás Trueba’s sixth film made the hottest days of the summer more bearable thanks to Eva’s luminous (and verbose) trip -genial Itsaso Arana-, the protagonist of ‘The Virgin of August’, in her true settlement at the age adult By the way, the film won the Special Mention of the Jury and the FIPRESCI Prize of the last Karlovy Vary Film Festival.
Alejandro Amenábar has returned to shoot in Spanish and has done it through the big door: with a film about one of the most famous authors of Spanish literature – Miguel de Unamuno – and his last days of life and his support and then renounces the regime de Franco at the start of the Spanish Civil War. They cross out ‘While the war lasts’ as an academic and not very risky. But the only reason for his return is well worth a celebration.
After the success of ‘Verónica’ (2017) it was expected that all eyes were on Paco Plaza in front of his new project. This has been ‘Who kills iron’, a thriller that returns to give us a superb interpretation of Luis Tosar and that takes the films on drug trafficking (set in Galicia) to another level. A film about resentment, revenge and the double face of the human being that, without a doubt, is one of the films of the year.