Andalusia. The 1950s. The miserable time after the Spanish Civil War. They are the first years of the fascist military Francisco Franco. Rebels against the dictatorship (Maquis) are engaged in resistance. Some of them, fleeing the law, have approached the mountains, have risen up against the law of Franco. Others are also in the law. In the “normalcy” of life in urban centers, in semi-enclosed spaces, in night work. Cencerro, Perdigones, Tomillo. They're the aliases of some of them.

They have organized themselves to deal with the brutal regime, to keep alive the dignity of the dead who faced the National Uprising. The dominance of the fascist military is total. A confused time. Coexistence is hard, both physical and psychological, as these are years of hunger. Mistrust prevails among citizens. People's lives are not worth two salaries. Enrique and Carmen, a young couple with love, unfold in this situation, appearances seem.

So far the synopsis of my letter. I've been suggested for films in two parts straight away:

Living, whatever it is, makes us sick. Moreover, if we are surprised by the war, we will be surprised by the evolution of our existence, not only will it surprise us, but it is exacerbated, and even transformed with intensity. In the “normalization” of life we never know one another and to know one another is an infinite lesson of all life. In war, knowing ourselves and making our decisions make us even worse. We can be prepared to accept our decisions and commitments, albeit seriously, but we do not accept those of others equally. This is the case of the young Enrique and Carmen.

Imanol Uribe is an experienced filmmaker. The issue has been war, excitement, and it has brought it to the screen. It can roll, that is to say. The film is well reinvented, well narrated and assembled, well measured the tempo of the scenes, it reflects beautiful plans. That is to say, it tells us, both through texts and through elaborated images – showing the sweetness of oranges as well. The continuity of the film is adequate. Balanced. You can hardly avoid reporting. The action is moderate and well interspersed. The actors are at a very high level. For example, Karra Elejalde (Don Eladio) is a great actor, but he is one of the great stars in the story of this actress. Iban Garate (Enrique), in art, without being a famous actor or curated, is the path that has marked the interpretation that Uribe has made in Miel de naranjas.