Yes, this week the Mafia Chill has been fired and played to mus. Mus Corrido sings, metaforka hegan. Some hordago did throw them out during the three years that the group lasted. Of course, there would be a tenth to be picked up on the road, but for the moment, it would be enough to pick up the points.

The new song has come to my face when I watch the film Hebi no michi (The Snake Route). The members of the Errotxapea sing the envy and ordagos between two people, representing a phase of disaffection in high school, and then say that they have become two idiots with pistol, throwing in the morning and in the evening. One says that he was the king of the poles, and the other the queen, and that the king is nothing without him.

You will locate this scene in a wet and abandoned nave and, little more or less, changing some things, you will reach the Hebi no michi. There is a disillusionment to life, and an implicit envy and ordago to each scene. Guns, explicitly. As in the continuum, things will happen quickly and unexpectedly. Now one, now the other; without bach.

On the outskirts of Paris, former investigative journalist Alberto has sworn to avenge the brutal murder of his 8-year-old daughter. The corpse was completely disfigured a few months earlier, and to pass the mourning, she will meet Japanese doctor Sayoko, who was in one of the visits to the psychiatrist. On his way to vengeance, Alberto will meet Sayoko as a partner. Little is known about the life of the woman, her gaze is penetrating and it can be said that she is a little crazy, like Albert.

From there, whoever feels stimulated sees what to do. Ordago or send. The film has a great suspense, as does the trajectory of Chill Mafia.

There's not much suspense here. But there was a cry of dignity, as in the other.

Again, it's become clear that there are ways and means to tell real stories, and that is that the movie Soy Nevenka tells us how we are. The same as watching the Titanic: the viewer knows what's going to happen, more or less what's coming next, in that sense there are no spoilers ... But if on those occasions each scene manages to fascinate the viewer, then the film is worth it. And that's what's happened to me with the film directed by Iciar Bollain. But not especially for the work of the actors.

Nevenka Fernández was announced more than twenty years ago in the Spanish State. In 2000, he assumed the position of Finance Councilor in the municipality of Ponferrada, at the age of 24, at the impulse of Mayor Ismael Álvarez, who had been governing for years. It was obvious why he had arrived at the place where they had arrived. Maybe not because it didn't work, but because the mayor harassed her relentlessly, sexually and psychologically, and increasingly violent, painful, as the weeks went by. I needed moments to meet the woman, I planned trips or liking, I continuously called the phone, the day I sent dozens of messages to her... And when the woman faced or showed indignation or complaint, the relationship deteriorated: first she insulted and then she took steps to dirty the professional career and threats. The woman lived in that narrow path.

Nevenka Fernández denounced him and the case gained a lot of fame. In the Spanish state, for the first time, a politician was convicted of sexually assaulting a minor.

In Spain, it is true that the model of films and series usually performed by Movistar is known, which can be easily perceived as a production of its own, and in this case it is also so. In that sense, this film has a serial style. But I think it goes further and you can see Bollain's hand. It has been fine, and it has been a powerful film in which it has highlighted the sound and image of the film.

Just in case you have to say things that have become a little more modest: among other things, the interpretation of Urko Olazabal, incarnated by Álvarez, deserved more; even if he is the second protagonist, it is far too far behind. And Mireia Oriol has done Fernandez's, and that hasn't been a representation of the other world either, though she's left some details, like when she has a big anxiety attack. But, as I say, there have been no more global representations, but it is a way of attracting the viewer.

Bollain's perspective on the story seemed courageous, with a focus on value and dignity, as well as on how to express the fraternity of women. It has also been elegant in scenes of serenity such as the momentary brushstrokes of cruelty and pain. It has focused attention on abuse, both individual and collective. He was expected to be noticed and has been educated.

It's not likely to be a movie that competes with the Golden Shell, but you can see it. It has arrived at the Hegoalde cinemas on 27 September. It's worth it, and maybe it's worth wearing a scarf, because most of us have come out of Kursaal like this.