Every film with an interesting (or simply bearable) vocation lives in an unstable balance between what it exhibits and what it is silent;
what it screams and what it hides.
Not in vain, the act of hiding is almost by definition a way of showing.
Silent.
The poet
Georg Trakl used to say
that you have to
darken the darkness to see better.
And not far away
Lazslo Nemes
defined his peculiar and capital exercise of cinema in
'The son of Saúl'
as a necessary defeat: "Any image you show belittles reality, but not showing anything is a form of ignorance that makes you guilty."
His film, to place us, was about the Holocaust.
Be that as it may, and without rushing the parallels, it is there, in the midst of each of his doubts, where '
Ane
'
is situated
,
the cinematographic debut of David P. Sañudo
that can already boast of being
the most resplendent debut feature that has given Spanish cinema
in the current pandemic year.
The Bilbao director says that the first motivation for his film was to analyze how "the social" (thus, in general) alters the most intimate (thus, very in particular).
'
Ane
' is set in Vitoria in 2009 and tells the story of a teenage daughter who one fine day disappears.
Her mother (a proud and excessive
Patricia López Arnaiz)
looks for her in an explosive environment.
As a backdrop, a
burning Euskadi
ravaged by a conflict that does not stop and in which everything is mixed: the neighborhood fight against a road that divides the neighborhood in two, with the consequent and unwanted expropriations of houses, appears next to the simplest and most brutal of fires.
"It was a time", says the director, who was barely 20 years old at the time, "in which all activisms were confused and lived in part demonized by terrorism."
The film lives from the first frame devastated by vertigo.
The camera is placed next to Lide (López Arnaiz), the mother, and with her hand it embarks on an equinoctial adventure in which issues such as motherhood, family, parental authority, children's rebellion, the inheritance of fear or just guilt are summoned with
a resplendent and clear darkness,
as Trakl would say.
What matters is not so much what is seen as everything that from the shadows, from the desperate search that is also flight, from the most elemental sense of danger,
manages to show itself with a forcefulness as agonizing as it is true.
'
Ane
' flees from definitions with a knowing maturity unimaginable in a first film.
It is family drama with an
unbreathable
'
thriller
'
structure
.
Or vice versa.
It is a women's film, but as provocatively testosterone as it is perfectly aware of each of the gender stereotypes it discusses and rebels against.
It is, finally,
a political film but from the intimacy of each revolutionary force gesture
.
It is everything that it exhibits with the same violence as what it denies.
Sañudo says that the climate in which the film unfolds, that of the diffuse and always ill-defined Basque conflict, is so absorbing that he fears it will eat up everything.
He is aware that '
Ane
' arrives on this decimated billboard at the same time that '
Patria'
makes a superb effort to offer the story forever of what happened in the Basque Country.
And also in the same year that '
The invisible line
' was released
on the origin of ETA and so many other productions on the same all-powerful plot.
"The production of a film is long and you never foresee when you will be able to finish it and release it. The only thing I can say is that my interest stems from when '
Lasa y Zabala
', by Pablo Malo, '
Fuego
', by Luis Marías, and '
Negociador
', by Borja Cobeaga ".
All of 2014. "If my film can add a reading, welcome. The problem, in fact, is that effort to find one and only reading. That is a mistake," he says and adds: "There is still much to tell" .
The truth is that '
Ane
', by structure and soul, is a refutation of the evidence, of the presumably definitive interpretation, of what is in view.
'
Ane
' is
a full and nervous movie exercise raised from doubt, from excitement and from anger
.
'
Ane
' is with the poet convinced that to see you have to darken your own darkness.
The best debut of the year in Spanish cinema.
And then there is, it has already been said,
the verbose miracle of Patricia López Arnaiz.
According to the criteria of The Trust Project
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