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  • Critic And an imperial Jessica Chastain buckled the best San Sebastian Festival in decades

The quinqui always had a hard time being someone. It was more of a threat and a promise. It endangered the stable world, but at the same time heralded the fever of adventure. If you like, the suburban hero who populated the years of the Transition with jerks, rumbas and cars in 1430 still retains an unstable ontological status; it is not clear whether he is a payo or a gypsy; it appears in the limit space of difference, in the margins of the consumer society that longs for and desires as much as it despises. Its territory is that of the western. The San Sebastián Festival was

kind

enough

to close its 69th edition with

The Laws of the Border

, an adaptation by

Daniel Monzón

of the

late-quinqui

or

posquinqui

novel

by

Javier Cercas

and, suddenly, everything was filled with doubts, nostalgia and the certainty perhaps of what could have been and was not.

Far from copying the forms of the then cinema of Eloy de la Iglesia, José Antonio de la Loma or Carlos Saura, even the proposal of the former director of Cell 211 is raised

from reverie and memory.

It is not so much mannerism as a poisoned or wound memory still unclosed.

She too, in a way, is historical memory and is there to draw the law of a border that has not just disappeared.

Indeed, Zarco, Tere and Gafitas tell us (those who are given life with ease and talent by Chechu Salgado, Begoña Vargas and Marcos Ruiz) the poor of now, why not, are those of before.

What's more, they are always the same.

Monzón says that the film ends just in the last summer before the heroine finished with everything.

He adds that his idea was to transfer to the screen the same fear and the same fascination that he himself felt when he looked from the window of his house at the open field in front of him;

that nobody's space that was also the land yet to be conquered, the place of simple freedom.

The result is a beautiful film built on the rubble of an essentially sad love story

(like all of them);

a new look at that old romance;

a new identity for those who never had a DNI.

According to the criteria of The Trust Project

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