At 9 a.m. on Friday the curtain of the San Sebastian Film Festival has been lifted in three corners of the city: The two halls of Kursaal and the Victoria Eugenia Theatre. In the latter, the back screen of the fabric gives us the image of another cloth that opens after the ad game. They are curtains of a house, curtains of Peter von Kant's house.

Peter is a famous filmmaker who lives with his silent helper, Karl. When Peter meets the attractive young Amir through Sidonie, he becomes the center of Peter's chambreads, cinemas and muses universe. It quickly becomes, but blind admiration fades away, moving from tenderness to violence a story of venomous love between two men.

The first film I have seen was Peter von Kant, presented this year by François Ozon, the favourite of the festival, based on the film Tränen der Petra von Kant de Die bitter, presented in 1972 by Rainer Werner Fassbinder.

Converted into Petra Peter de Fassbidender and Amir, the beautiful Karin, Ozon embraces the bitter tears of von Kant. But what is without Peter Petra? High doses of melodrama, an attractive cinematography and some glowing ray of humor. I believe that the evident dependence on the original news does not have to be negative. On the one hand, thanks to the fidelity with which Ozon works, the film works perfectly as a tribute. In fact, the genre of the protagonists and the most moderate staging are the most characteristic elements of both. There are also eleven lives of the deceased German director and the gestures made to the filmography.

On the other hand, the reformulation of the classic allows bringing to the surface the violence that went through both the work and the life of Fassbinder, making it the object of debate. With reproduction, Ozon revives the work he admires to revitalize the image of his lost lover. However, this reproduction is not a banal copy, but a review as discreet as rigorous as the work of Fassbinder and, in particular, the figure of genius. So when Peter von Kant closes the curtains of his house, that is, when it seems that the curtain of narration is down, Peter's tears are smiling in the face of Amir's photos in Ozon's proposal.

I wanted to keep the taste of those tears that have made me especially sweet to food. Because he could have foreseen a second, more acidic delivery from the hand of another old friend of the Festival: Isaki Lacuesta. The Pearls series competes with Peter von Kant with the movie One Year, One Night of Lacuesta, focused on the attack that took place in the Bataclan Room in Paris in November 2015.

On the night of the events, the protagonists Ramon and Céline were in Bataclan, and although they both survived the shooting, they have to see and learn how to survive with what they had suffered. Lacuesta tells us how to manage trauma, building a complex portrait of sensitivity Ramón and cold Céline. From One Year, one night I would highlight the ability to strike a balance between drama and the most insignificant banality; the ability to braid terror and laughter. Mention should also be made of the two main actors, Noémi Merlant (Céline) and Nahuel Pérez Biscayart (Ramón), whose representation underpins the full development of the plot.

In the first half of the film we are presented with the couple's day-to-day night flashbacks of the shooting. The film jumps perfectly from one side to the other, from closed and intimate planes of temperate colors that invite us to the intimacy of the couple, to a quick chamber work that immerses us in a whirlwind of lights, screams and sounds. The tension is rising slowly, while the time of the shooting is becoming ever closer. In this sense, the choice of Lacuesta, his distancing from the morb and his deepening in the psychological elaboration of the characters is to be welcomed.

In fact, the second half of the film focuses on the concerns of both and the deterioration of their relationship. Repeating the formula, the passages of tension and debate are interspersed with sweet and hopeful intervals, but this time it is more difficult to deal with the rhythm proposed by Lacuesta and, at least, I have taken the final line of the film.

Having said that, it is time that I too closed my curtains and lowered the curtain for today. The only concern I have now is that if this level of drama is maintained in the following films, neither Petrari nor Peter will overcome my tears.