It doesn't stop inside the room
- Between yesterday’s sunbeams and today’s raindrops are usually the festival that takes place between summer and fall. Yesterday, the audience bathed in the sea, until it came out of one film and entered the other. Today, however, the cafeterias, libraries or any porch in the area have been the shelters of this section. The contrast of the lights on the day before, still on the back, the atmosphere of the current movies was consistent with the exterior time. They've all been very thorough.
The film Jesús López, from Horizontes latinos, has been in charge of opening the day. Maximiliano Schonfeld is an Argentine director known for his participation in projects and WIP Latam since 2018, in the development and production phases. The film portrays the family void caused by the death of a relative in the camp of Argentina. We see how Abel gradually becomes the cousin he has just lost, at the request of his environment. The advantages and responsibilities of adopting the identity of another are mixed in a film that investigates the inner world with pressure and reward. The strength of Argentine cinema to insinuate is beautiful, and so history unfolds until the fact becomes more and more explicit. The film welcomes us from the beginning, testifying to this representation and betting on the protagonist. Aesthetically, the film resorts to conceptual imaginaries, capturing the special lights, the dust that rises on the earth or the mystery of the evenings. However, this blurs the story a little, with the risk of beauty being on the surface. However, the story has been worked with great delicacy, and it has been applauded by the public at the end.
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The pass of the film Eles transports to morte will then be issued. Helena Girón and Samuel M compete in the Zabaltegi-Tabakalera section, which is known to be the most open section of the San Sebastian Film Festival. The work of Delgado, and it's a story told in two lines. On the one hand, it has condemned three deaths of the Christopher Columbus crew; on the other, a woman in danger of death and two women trying to save her. It is a story told in a fragmented way between sins and betrayals, in the confusion of flight and enchantments. It is a thread that develops quite far from the narrative and knows what dose of realism to give and where. The textures of the images are interspersed freely, and in this sense bold decisions are made. The strongest point it has is how to try to open the roads rather than close them. The talks may be too solemn, as they are few and therefore take too much weight. The works developed in the Ikusmira Berriak program, if not, represent an interesting proposal to bring the past.
Finally, in the same section, Retour à Reims (Fragments), by Jean-Gabriel Périot, a work by the director, has already become an annual occasion. The film director has worked for the past few years at the San Sebastian Festival and has become the favorite of many. This last film meets the expectations placed, with a class perspective, a working woman, and a current social policy in the spotlight. Through archival materials, French cinema and teleberri above all, the director has based the film on Didier Eribon's book, with several adaptations. The hope in militancy and the ease of reporting have coincided in this work with the public of the Festival, which has not been able to look elsewhere. The images of those jackets have taken Tabakalera, the tear gas of the demonstrations, and the rain, and the screams of the protesters. I went out.
