On June 28 of this year, Casa in Flames (Etxea Sutan), a dramatic comedy directed by Dani de la Orden, premiered. I told him I thought I would see him a month before the festival, when I was talking to a friend, and he recommended it to me. Although we do not always agree, the friend is very fond of the truth, and I usually do well to listen. I've already seen it, and you guessed it again.
The story begins when a family's mother decides to sell her summer home, bringing all her relatives together to collect the last remains of the house and prepare them for sale. The way home will be expected and, worse still, when everyone meets, the father of the family will appear, accompanied by his new partner, who will oppose the sale of the house. Instead of solving this discrepancy, the family will have a chaotic weekend in which we will discover the secrets and misfortunes of each of them.
In the film, the most striking, by far, I've been given a script. I thought it was a theater comedy, very well written. Incidentally, this morning I talked to a theater actor, and maybe that's why, but I thought of a style very similar to the comedies I've seen lately. The script is ridiculous and is based a lot on interpretations; it reminded me of that sweet and curious sensation that only leaves the theater.
The end can be quite obvious, and although at first it gave me a bit of disgust, at the end I came to the conclusion that it was good. The film is recommended for both the cinéphiles and those who do not have much habit of going to the movies. And if you recommend it, if you haven't gone long ago and you have the opportunity, maybe you can also go see some work to feel that sweet and curious sensation again.
Confusa and offline
In the afternoon, I have seen in the Prince room more people from Sundays die (more people die on Sundays), by Argentine director Iair Said. The title seemed very curious and attractive to me, because I wanted to know why we were waiting to die until Sunday. However, the film has quickly revealed to me the mystery: in the Jewish community, if someone dies on Friday or Saturday, they wait to bury him until Sunday, so the deaths of three days accumulate on Sundays.
However, this revelation has not been too important in the script, only to say that David (Iair Said) is the Jewish protagonist. Throughout the film we also collect information about David: that he is big, that he is afraid to fly, that he is homosexual, that he has a strange relationship with sex and that he has reburied his uncle in Argentina, among other things. The most important issue is that her father is in a coma and that her mother is not willing to disconnect from her son's room.
As you can see, the film talks about many different ideas; at the same time, too many. And that is, even at the end of the film, I haven't been able to understand the importance of David being a Jew in history, or the influence of being homosexual, or the appearance of that strange relationship with sex. I thought it was an offline film, I was not able to link different issues, nor did I understand what I wanted to convey to each of them. Maybe the audience is used to the script following a thread, and that's why I've been doing a strange job. However, I do not know whether that is or is an inadequate way of counting it directly.
In the credits of the film I have realized that the director, the writer and the protagonist is Said himself, and that is why it may be an attempt to tell some personal story. The truth is that the film has had a couple of very exciting moments, between David and his mother Dora (Rita Cortese). What I liked the most is Rita’s interpretation, although in general I found them all to be good. It is a pity that the lack of connection between the issues has not allowed me to enjoy the film.