Pilar Palomero floods San Sebastián with emotion despite her self-indulgent oversights

• Controversy The director of the series 'Fácil' attacks Cristina Morales: "You can only comment on the money you have received"

• Documentary Tequila: too young, too successful, too many drugs, too much sex

• Official section 'Suro', an ambitious and irregular debut with the obsession of returning to the field of new Spanish cinema

Spinoza said that what is fair and appropriate is to contemplate emotions not as vices but as properties of human nature.

Love or hate would belong to us in the same way that heat, cold or lightning constitute what belongs to the air.

has something of a tornado, an emotional hurricane oblivious to everything that is not her own fever.

It's a movie, but above all it's an outburst.

It is impossible to remain in front of it without feeling hostage --in the best and worst sense (both things at the same time)-- of a story stopped in an excessive drama that has both an abyss and a promise;

of despair and of the future.

The second film by the director of

was present at the San Sebastian Festival and nothing was ever the same again.

Sad, no, '

', what the Argentines say.

The film tells the story of Carla, a 14-year-old girl who, by chance that has a lot of destiny, becomes pregnant.

Carla, something more ferocious than her own ferocity, is welcomed (not exactly interned) in a center where she will meet other '

' who, for one reason or another, experience the same unexpected confusion, the same defeat.

They are girls who are condemned to have to stop being girls when they cannot be more than what they are: girls.

It sounds like an existential labyrinth and, in truth, it is of an essential simplicity that frightens:

The director plays at blurring the line that separates what is real from fiction, the fabulation of what is given, the representation of its reflection.

In the entire cast, only one syndicated actress -- energetic and vital, the mother of the girl who is the mother played by

-- measures up to the demands of the script, the brands and the setting.

Next to her, the newcomer and authentic phenomenon of nature,

who, how could it be otherwise, gives life to Carla.

The rest are women (and yes) in the titanic task of giving life to themselves, but at the same time being others.

The entire film becomes strong there, in the effort to place the viewer in the most committed, strange and happy of territories: what is seen hurts because it has not been seen before;

it hurts to see each other for the first time;

it hurts with pure pain.

The camera moves across the screen like a speleologist's flashlight in the depths: modeling shadows that warn of danger, paths that promise an escape and voids so large that they could be said to be the sky itself.

advances through the viewer's retina like a threat, always in tension and always careful not to lose one's footing in those ugly abysses that are melodrama and learned tears.

It is true, and the bad news arrives, that so much pressure is not always in your favor.

The director renounces from the first moment to provide her film with a narrative.

The characters barely move forward since they are delivered to the screen in their drama very close to infinity.

If

her first film, was raised on the anecdote of another past time (the Spain of 1992) to propose itself as an almost ruthless reflection on the traps of memory, now only the impact of the drama matters.

During a good part of the footage,

it becomes a succession of fragments of life with no internal structure to arm them and make them progress.

It is not a good idea to make the victims declaim their misfortune directly to the camera.

What is really important is not said, it is shown.

"Feeling what life is like without using the elements of drama in any way", said Yasuhiro Ozu as the goal of cinema and his cinema.

in repeating the same finding over and over again remains.

Yes, it is effective --it moves us, we said--, but it also irritates and produces itching.

Be that as it may, there remains an overturned and volcanically torrential (and slightly populist, perhaps) film destined to mark the year.

It is so.

PORN CONTROVERSY

For the rest, the San Sebastián Festival once again surprised us with the umpteenth controversy of the edition in question.

Very nuanced, perhaps irrelevant, but controversial nonetheless.

And it came from the hand of '

', by the Argentine

The leading actor, who is not really an actor as such, complained a few days ago via Twitter that he was mistreated on the set and demanded more than necessary when, in reality, he was not in the mood.

The matter did not even become a matter, but there it stayed.

The film follows the tribulations of the Mexican

prostitute at times and occasional performer (let's put it that way) in porn movies.

Abramovich makes a kind of minimal diary of silence (or of emptiness) where what matters is the contrast: the brutally inconsequential rigor of everyday life against the insane frenzy of sex turned into merchandise and always exposed for sale.

Like some kind of uninhabited hero, the protagonist drops down the slope in a euphoria that ends up being indistinguishable from the obvious boredom.

The pornographic scene between Pancho Villa and Emiliano Zapata, of pure nonsense borders on the prodigy.

The director, master of the rigorous and surprising documentary in his inanity ('

' ​​or '

are examples) thus rehearses an

tragic and comic, profound and banal.

Interesting without a doubt.

Lastly, the official section was completed with

debut feature by Japanese and experienced producer

It tells the story of a mother who loses the grace of her memory due to Alzheimer's and a son condemned by the misfortune of a memory that martyrs him.

Without boasting, but without missteps, the film manages to build its own delicate, painful and precise territory.

The detail of some virtuoso circular shots in which the action turns on itself over and over again by losing the sense of time and memory adds points to a film, on the other hand,

Spinoza was the one who insisted on building a system that was also a program of life in which the passions were not vices, but forces to promote action.

Emotion as a property of human nature and

We have arrived.

Conforms to The Trust Project criteria

Know more

• Alzheimer's

• Twitter

• cinema