'The daughter of the thief', the first opera of the year in which Greta Fernández killed her father

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Wednesday will be remembered as the day Greta ended Eduard. Then they started doing interviews together, but before, on the screen, there was a corpse. Exquisite if you want, but dead after all. Freud says, who else, that the father killed by the offspring ends up having more power, influence and authority than the living. And the reason is that the obedience professed to the deli is intimately associated with the guilt complex. That is always a lot. We talked to not miss the daughter of a thief , which is the title chosen by Belén Funes to debut. In a big way, yes. The Catalan, student of the ESCAC, premieres in the film. He also does it at the San Sebastian festival. And if nobody prevents it, hope it doesn't end the same way on Saturday's winners list. It is what first-timers have, who arrive free from prejudices and debts.

The most striking thing is that in the movie Greta Fernández, daughter of Eduard Fernández, is the protagonist . And dazzles in his confidence, self-confidence and ability to suffer. In the background, Eduard himself gives his creature the reply. He is the father of the title. It is the father on and off the screen. And, as he plays in these cases, he lets himself be killed in the most figurative of the senses. It is not so much a matter of Oedipus and its complexes as of simple office. For the first one to shine, the second one has to play dead. And so.

To situate ourselves, the film speaks precisely of the weight of inheritances ; of the need to break in order to grow. A 22-year-old girl and mother of a baby suddenly attend the arrival of her father. He has been in jail, for a thief, and now he wants what is his without that meaning he knows exactly what he wants. It is like that. She knows that her only option is to give up maintaining contact; He knows that, always symbolically, he must kill him. And that is what he does and what the film is about in its literalness as well as 'the Fernandez movie' in an allegorical way. If you read carefully, you will understand.

The camera of Belén Funes imagines itself as a scalpel and, in the same way that the subject it deals with is the rupture, the whole film is nourished precisely by discontinuities , dialogues just begun, indications. The strategy is none other than approaching the most intimate pain of the wound from the recognition of what is broken, of what can only remain broken. And so, the director builds a film that grows great both in what she teaches and in what she hides. As Saint John of the Cross said to his people: "We travel not to see, but not to see." And, indeed, it is in that subtle paradox so close to mystery and truth that the emotional and profound life of the thief's daughter lives.

The result is one of those tapes that breathe both on the screen and in the memory; it is a film that transcends its elementary condition of narrated story to demand from the viewer the obligation of doubt, imagination and truth; It is a film that vibrates in each plane, which is known strong in the providential terrain of the barely interviewed. If after this phrase syncopated and elementary cheesy, we recognize that we have been excited, that nobody is surprised. That is exactly what has happened.

And then there is the Fernandez. It is probably a matter of genes or perhaps just a coincidence to be pampered. Anyway, the film only makes sense for Greta, for that look always to the escape of its protagonist. Miraculous maybe. That is why, and because of the shadow of an Eduard who also reconstructs the black legend of Millán-Astray from within, While the war lasts, he is elegantly murdered by his very daughter. Of course, and as Freud said, a dead father ends up sending infinitely more than a living one.

Houllebecq's kidnapping, volume 2

For the rest, the official section attended a very particular moment of relaxation by the hand of a Michel Houellebecq who smokes. He does it in Thalasso . If a few years ago, in 2014, we attended the kidnapping of the author of The map and the territory by the hand of director Guillaume Nicloux , now more, but in another way. Or, better, in the same way but with Gérard Depardieu inside. It is, again, to tell in detail what happens when nothing happens. In the first film, the urban legend of the abduction that never happened was the perfect excuse to face the French novelist in the face of the absurdity of his surroundings ; before the imposture of what surrounds us all. And in this way, we witness the meticulous deconstruction of the unredeemed misanthrope while attending a brilliant lesson of who knows what. Everything, yes, so perfectly ridiculous that it excited.

This time Houellbecq undergoes a thalassotherapy cure. The idea is to survive as a regime too healthy to be healthy. Of course, kidnapper friends are there too. What follows is the closest thing to a disassembly operation where the writer has no qualms about delivering a hilarious cartoon of himself so contrary to the imputed importance of cursed writers that there is nothing left but to surrender. Of course, it is fair to recognize that, at times, it will be so relaxing, one ends up running out.

Finally, the actor, in addition to theater director, playwright and Portuguese screenwriter Gonçalo Waddington presented Patrick , which happens to be his debut in the feature film (the second of the day with that of Belén Funes). The film tells and radiographs an enigma. A young man is suddenly confronted with his past: 12 years after being kidnapped he returns home. He was kidnapped with just eight. Waddington builds the film from silence, modesty, uncertain memory of everything that cannot be said. And so on to approach something as unspeakable as nauseous. It is not horror movie, but it seems . As murky as touching, as hard as sad.

And so it was a day marked by the presence of a great father, but dead, who are the most in charge; the day Fernandez knocked Fernandez down.

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