The protagonists of Vicenta B. and Miyamatsu to Yamashita face the same problem. Both have forgotten what role they have to play in life, somehow they have lost their identity both Vicenta (Linnett Hernández) and Miyamatsu (Teruyuki Kagawa). If that is the case, the former must take the path to regain the meaning of their lives in the future and the latter in the past.

In Cuba, Vicenta is a reader of letters that comes from the healing lineage of his prestige. Surrounded by smoke of pure chunks, Vicenta carries out his activity in the old mansion. But when his beloved son Carlos goes to the United States, he loses his powers and stops seeing spirits that help him in reading letters. Thus, lost both the role of the mother and the witch, she will have to face a new day to day, rediscovering her place in the crazy life.

What is left to the mother who has given away all her life to the children when they travel? Who cures the doctor? Director Carlos Lechuga originally proposed a reflection on the figure of the caregiver. In the shadow of these questions, the film progresses slowly, which is nice visual without having to fall into exoticism. In addition, the film is not very long, about an hour and twenty minutes, a feature that begins to thank the fifth day of the festival.

Although the proposal at the base is interesting, it has left me rather cold Vicenta B. It is a pity, because it brings together elements to be an amazing film, such as the appropriate themes, the fresh imaginary and the protagonist with a strong presence. Despite everything, I haven’t found any new charm in this film from the Horizontes Latinos series.

Although the spirit does not appear in Miyamatsu to Yamashita, the dead from time to time also walk. I mean the first ones who, after being shot, go to clean up blood and play the next character. The protagonist, Miyamatsu, who has made his own identity disappear by living the life of very diverse characters, makes Extra. At a certain point, Miyamatsu will have to decide what his role is, exploring the mysterious past that comes to light as a puzzle.

Drama, humor and mystery mingle in a work that has brought together the work of three directors. In addition to his work as director, they are also writers and assemblers of the film Sato, Yutaro Seci and Kentaro Hirase de Masahi. Miyamatsu to Yamashita has been introduced today for the first time in the New Directors section, Roleless (paperless).

Thanks to an absolutely exciting principle, the film manages to capture the attention of the viewer from the very beginning, as the plot develops, although this interest is decreasing. But I think the way directors play with viewers' beliefs is important. In fact, the scenes that Miyamatsu records as extra are frequent and, in most cases, it is difficult to say a simple scene of fictions in which what we see is part of the main plot or that Miyamatsu records. The resource is used in a very ingenious way, always obtaining laughter accomplices from the public. Driven or not by the presence of the three directors, Miyamatsu to Yamashita has today received a very important applause in his performance in Kursaal.