Although outside the Concha de Oro competition and other awards, other – usually good – works are premiered in the Official Section. In particular, there are sixteen competing films and 22 films – twenty films and two telescopes – are in projection.

One of the series we've seen out of competition, will be one of the most powerful Movistar deals for this fall: Love. This is a miniseries of four episodes directed by the Barakaldesa Alauda Ruiz de Azua and recorded in Bilbao, mainly in the Casco Viejo and in the neighborhoods of Zorroza and Abando.

The series is short and hard, well dosed. Four episodes of one hour each, that is, three hours and 32 minutes each. Ideal to see a rainy night, as long as, being aware, the subject is not so easy.

History revolves around a case of male violence. We entered directly from the first scene. Look (Nagore Aranburu) will divorce her husband after 30 years of marriage and, in addition to filing a divorce, she will also have to file a complaint with the court, alleging that she has been raped, humiliated and persecuted continuously. It is more psychological than physical persecution, and the difficulty of demonstrating it, credibility, is going to complicate the guiding thread of the drama. Little by little we will learn his testimony, the nature of his relationship with husbands. Another detail to keep in mind is that Miren takes care of domestic tasks, does not do wage work, and that man is of high economic level and also rich family, unlike Miren.

The series contains interesting details, especially discursive ones. This tape is a practical example of I believe you. But above all, I would like to underline how strong she has been and how the director has reflected Miren’s relationship with her two children. The context is complex. In fact, before Miren left home and reported, his children had already been living outside the house for about three years, and they have not witnessed the persecution; even before, and always, a man who had attacked him in a less identifiable way, who previously did not look at the naked eye.

The series is well organized and worked, so it's tough, exciting, exciting and alive. All the interviews give more or less to speak, but it is noticeable that there is no need to extend, as in other television series. The actors in general are good; notably the work of Nagore Aranburu. I found it terrible, so far insufficiently visible.

On the contrary, one feels sorry for Nagore Aranburu and Loreto Mauleon, who act as a lawyer of the protagonist, when listening in Spanish. And where and on the streets of Bilbao. You don't hear Basque in the series, and that should give you what to think. For example, in the film On Falling that we have seen in this same Official Section, the protagonist, of Portuguese origin, speaks Portuguese with another Portuguese with whom he collaborates; or in Johnny Depp, in Modi, two Italians speak calmly to Italian – the language chosen from Depp’s film is not the best example; we will detail it immediately.

When does a production made by a large company combine Euskera with naturalness and frequency?

Yes, the legendary Johnny Depp has come to San Sebastian to introduce the film. But the truth is that not so much has been said about the film, but about places that he has visited a lot more, about restaurants, about visiting the hospital... It will be for something.

But well, the truth is, Depp hasn't made a bad production. Modi, Three Days on the Wing of Madness (Modi, three days crazy). It has been noted that the budget has not been limited – a legacy of millions of dollars, owner of an island in the Atlantic and well known worldwide, making it easier for investors to search.

It was hoped that the money would not be missed, as well as the following note: the unique features of the return of Hoolywood have not been lacking. In all the history that is situated in Paris a hundred years ago, French is heard about 1%. Italian is more – it makes sense, basically, because it is an Italian innate protagonist – but everything has been in English. Moreover, it is observed that the two friends of the protagonist – the actors – do not easily dominate English – it would also influence the fact of being a stupid and naive person. Or it's been intentionally searched. What happens is that, as far as language is concerned, it loses all credibility with the film in Paris and listening to everybody -- but that doesn't matter.

It's a real, fictional story. Modi, the Italian artist Amedeo Modigliani, lives in Paris in 1916, in the midst of World War I. These details of the time are evident in daily life, on the streets and in the personal economic situation itself. Modi is a painter and sculptor, a very precarious life, without money and without great personal support. Two crazy, stupid and weird friends look alike or get worse. And a friend/lover who writes about artistic works, journalist/critic ex officio, is also pretty precarious. Modi makes art with pleasure, and that's the key, but then it costs a lot to sell.

Depp's second work is an easy-to-watch movie. Entertaining, with an elegant image, with clear and dark yellow colors, and the music chosen is also very appropriate, although as a point, in the style of the language issue, with the music that happens the same: they have put some song or other very current, which we could hear tonight on Saturday. And maybe that song wasn't too stuck in that scene. That also seems intentionally wanted, the truth. I don't know for what purpose.

I think the beginning of the film defines it very well. First scene: in the first and a half minutes, we'll see Modi drawing a portrait of a woman in an elegant restaurant and making some fascinating comments, until she begins to fight with a man. After a five-second fight, Modi will face the table and jump from table to table, mimicking the gestures and step as Jack Sparrow. Depp's little gesture to Depp. The gesture is made of quality and appreciated, and actor Riccardo Scamarcio, who embodies Modi, does it in the best possible way.