Juan Diego Botto reinvents himself as a director, sincere, irregular and without cynicism, in the soul of Ken Loach

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maintains

that the current society that we all live in and many suffer from has made what is normal unacceptable.

Actually, what hurts something more than just the venerable father of social cinema is capitalism in general and its neoliberal version in particular.

"The mechanism is that the humiliated end up believing that the fault is theirs," he insists whenever he can and as proof he presents his cinema.

His entire filmography (but all) is basically a commitment to the two statements above and, rushing, with himself.

Let's say that

landed in Venice on Tuesday with a mission: to show the world that he has seen all of the master's films.

But all.

And even some of Scorsese.

, his directorial debut, looks like a movie, but it could well be classified as a simple scream.

Sincere, sometimes slightly hoarse, but sonorous and clear, which is what it is about.

Seconded by his friends, colleagues, accomplices and even patrons Luis Tosar and Penélope Cruz, Botto says that everything arose from a history of jealousy.

As it is.

"After Penelope came to see me in a performance of '

, we planned to do something together. The first thing I started to write was a love story with an eviction in the background. But as the project progressed , the second remained," he says in what seems like a fairly clear description of his way of walking around the world.

And he adds: "You realize that news cycles are very capricious and somewhat cruel.

Someone would say that there is no longer a war in Ukraine or that people no longer lose their homes.

And no.

What happens every day defines reality, but it loses informative interest". Again, as the English would say, the unacceptable becomes normal.

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Penélope Cruz, an immense 'mamma', is not enough for a Crialese in a minor key

• Drafting: LUIS MARTÍNEZ Venice

Penélope Cruz, an immense 'mamma', is not enough for a Crialese in a minor key

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And it is there, in the confusion between the one and the other, between what by force of everyday life has stopped hurting, where a film as angry as it is emotional, as irregular as it is feverish, as punctually documented as, let's admit it, something naive moves. .

Let's say that it is kept safe by the viscerality and size of the actors, the vocation of truth and the clarity of the position adopted.

is on the side you have to be on, always at a safe distance from the most ruthless of animals or the most imbecile of friends (depending on how you look at it):

It is true, that it loses what mortgages many debut films: the will to tell everything, the desire to transform each character into the executor of a sacred truth.

Remora perhaps both from the theater and from the journalism in which the scriptwriters (Botto himself and Olga Rodríguez) make their footing, he takes ahead on more than one occasion that indomitable will of verismo that he so wants.

Botto specifically missed that kind of Loach: the important thing is either not said, only shown, or only said once.

To situate ourselves,

counts the 24 hours of three characters evicted in some way.

Each in his own way.

For one of her, the character of

, the eviction comes because, in effect, she is evicted.

Her and her family.

Another, the lawyer played by

embarks on an impossible race against the clock through the labyrinths of the welfare bureaucracy to prevent a mother from losing her daughter.

This at the same time that his dedication to noble causes (and almost always lost) condemns him to a sentimental life in the process of, once again, eviction.

Attentive, for the rest, to

in the role of a son with the manners of a father.

And the third,

, witnesses the ruin and, again, eviction of his parents because one bad day they endorsed a business with their house of which there is nothing left.

Penélope Cruz says that it struck her how a woman told her with a smile on her lips a long list of misfortunes that ranged from the loss of the house to an episode of abuse.

says the actress who walked the red carpet the day before on behalf of

by Emanuele Crialese.

Next to him, the director amuses himself by recounting how reality overwhelms and even ridicules the imagination.

"My writing processes are long, but in this case, there was so much to tell and so many lives to put inside that it became almost eternal", he comments between proud and simply overwhelmed.

The two, and they put Tosar into this, remember that when they were young they were kicked off the stage for doing poorly in front of a Shakespeare text.

It was a first failure that made them friends first and then succeed.

To each one in his own way and to each one in a different way.

The camera moves through each scene always agitated and nervous.

For a moment, it would be said to be inside the '

' version of the mythical

of the aforementioned Scorsese.

At times, the film is theatricalized more than necessary.

At times, everything is stopped in the desolate face of the same desolation.

But always, and despite the irregularities and doubts, the certainty of what is true remains;

the rigor of the unfairly invisible.

"Federico García Lorca wrote: 'Under the multiplications there is a drop of blood'. He was referring to the reality behind the statistics.

' puts a face to some of those statistics.

insists Botto and Loach, it doesn't matter where he is right now, he agrees.

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