Laia Costa, the actress who cries beautifully, sweeps Malaga again

• Malaga Festival A documentary rescues the lifeless life of the child painter who disappeared in the 80s

• Inauguration The melodramatic failure of Elvira Lindo in her debut as a film director

If you make an effort, you end up connecting everything.

Everything has to do, as the famous game of the six degrees of separation maintained, with everything.

And, for that matter, with James Bacon.

On paper,

They are two almost opposite films.

By its intention, staging or, most obviously, biography of its directors.

A film is born almost like a second skin from a director who has spent years carving on celluloid (that is to say) each of the regrets and regrets that accompany her and, why not, her generation;

and the other is basically a virtuoso, brilliant and effortful exercise both in style and in production determined to bring to the screen each one of the abysses of an essentially abysmal play by Matías del Federico.

And yet, and in their own way, the two tapes are personal matters;

both are supported by the enormous work of their actors and, hurrying up,

appears live or on tape in both (we will explain this later).

If we add that they shared the opening day at the Malaga Festival and that they did it on the Oscar day of

that's it, the accounts come out: everything has to do with everything.

'Els encantats'

continues, so to speak, the work started by the director some time ago in

(2018).

And something further, in the anomalous and brilliant debut that meant '

'.

Once again, Trapé endeavors to describe the nodal points of a generation that has gone through and been defined by each of its crises: those of age, those inherited from the excesses of the elderly, and those imposed by the rigor of fate.

If in her previous film the director analyzed the ravages of relocation and emigration in a group of Spanish friends who meet again to later lose themselves in Berlin, now everything is more intimate.

This time it is a separation, what she means by a sentimental break.

With all that that means of formatted lives, dashed hopes and fear, a lot of fear, of the future.

Trapé is brilliant and intelligent in not getting caught up in the desire for the manifesto.

As in

, in

what matters is the depth of the character, the size of the wound and the simple emptiness, much more than the group or generational flag.

The protagonist flees to her childhood town to face her new situation.

For the first time, joint custody matters, she separates from her four-year-old daughter.

And suddenly, in the solitude of a supposedly idyllic village in the Catalan Pyrenees, she feels that she no longer feels anything.

The cleanliness of the wide shots that closely follow the sensation of simple disenchantment prevails with

And she hurt too.

And this is where a radiant and perfect Laia Costa is offered to show the world that no one cries as beautifully as she does.

If you like, and we go back to the connections from before,

' can be read point by point and with a precision that is frightening as the natural continuation of

by Alauda Ruiz de Azúa, which (more threads than sew together) was precisely the winner of the Biznaga de Oro right here last year.

One and the other, Trapé and Costa, one through the other, manage to compose a beautiful broken poem of that exact place where the cracks inhabit.

All of them.

By the way, the protagonist of '

' was Alexandra Jiménez.

And Alexandra Jiménez is one of the six characters in

.

Are the pieces fitting or not?

The actors Antonio Pagudo (i), Eva Ugarte (2i), Alexandra Jiménez (3i), Fele Martínez (3d), Malena Alterio (2d) and Juan Carlos Vellido during the presentation of the film "Under therapy", by Gerardo Herrero. Jorge ZapataEFE

Under therapy, behind closed doors

Gerardo Herrero's new film is something else.

And it is both with respect to his programming partner in Malaga and a good part of the director-producer's latest work.

It tells the story of three couples who meet not for pleasure or to celebrate anything but for what turns out to be a very unorthodox therapy session.

The psychologist has left them alone and with a series of envelopes that they will have to open in order.

The film unfolds all of it inside, not so much a room, but also, as within the doubts, fears and recriminations of the characters.

And it is there, very behind closed doors, where issues such as contempt, humiliation or, we have arrived, the most bitter machismo begin to ferment.

It would seem that the director resumes the scope of reflection and bitterness of works such as

' or

, both based on novels by Belén Gopegui and both very attentive to the social and sentimental relationships contemplated from something as touchingly childish and powerful as money.

All 'Bajo terapia' fights against the slavery of the fourth wall, against the imposture of the set imposed from outside to place itself on the other side.

And that other place is none other than within each of the actors.

In order:

All of them superb.

The result is a film that is lived from start to finish in a single breath.

By the way, we are talking about the same Alexandra Jiménez who lived in Berlin in 'Las distancias' by Trapé, we said.

And that Berlin is the same one that Laia Costa ate in a single breath that was also a sequence-shot in '

', by Sebastian Schipper.

Indeed, everything has to do with everything.

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