Luis Martinez

Updated Thursday, February 22, 2024-23:19

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In the standard classification of movies, there are cowboy movies, war movies, laughter movies, fight movies, music movies, fantasy movies...

And then there are love movies, which tend to be the ones that last the longest.

As soon as they leave the screen, they stay to live with us as the necessarily imperishable memory of an eternal dream.

Everyone has their favorites.

What if


, by Jean Vigo;

What if

The Life and Death of Colonel Blimp

, by Michael Powell and Emeric Pressburger;

What if

Brief Encounter

, by David Lean;

What if

Forget Me

, by Michel Gondry... You have to prepare to see a love movie and be very careful.

It is necessary to choose the day, the session and, if pressed, the company well.

Keep in mind that you are building a memory.

And that's not just anything.

Memory is limited and committing to a memory, painful or pleasurable, means that one is forced to accept the renunciation of everything that is forgotten at that moment.

Love enacts the dream of eternity in the face of the forced limitation of death.

It is all, ultimately, a matter of taking charge of something as elemental as the weather, the good weather.

The above is worth taking care of


, Andrew Haigh

's film

that appears on the billboard as a threat, as well as a provocation.

Think about it carefully, it is my obligation to warn you, it is possible that after seeing it you will stay to live in it for the simple reason that you will love it as you only love your own love.

And as time passes, they will remember the precise moment when they saw it for the first time.

And that will force them to make a series of decisions: who are they going to tell about the discovery, how will they do it, how many more times will they spend their time dreaming about the possibility of putting an end to it... And so on.

To know more


Unknowns, the film about love and ghosts that will make the most tears shed this year


Unknowns, the film about love and ghosts that will make the most tears shed this year


Paul Mescal, the lost father of Aftersun, the preferred Oscar candidate of the immense minority

  • Editor: LUIS ALEMANY Madrid

Paul Mescal, the lost father of Aftersun, the preferred Oscar candidate of the immense minority

The story is simple.

All love stories are.

Although they get complicated later.

A lonely man (

Andrew Scott

) meets another (

Paul Mescal

) and they fall in love.

What did you expect?

In reality, more things happen.

And all of them have to do with memory, with the past, with family and, therefore, with time.

Scott's character returns to his family home and there remembers his childhood with his family (

Claire Foy and Jamie Bell


What he does in essence is to reconstruct in detail and in front of his parents who died in a car accident (dream or reality, it doesn't matter) each of the wounds that left in his memory a farewell that was not and a confession (that of his homosexuality) that was left pending.

It is, in truth, a loving reunion, an approach to the most genuine meaning of death thanks, again, to love.

Time, love and death.

Keep pointing out that these things are forgotten and there is nothing that does more harm.

The director of profound works such as



45 Years

now borrows his ghost story from author Taichi Yamada and reconverts it into a delicate and precise juggling game at the very edge of all abysses.

Reality and fiction, like genuine phantasmagoria, rather than simply confusing each other, recognize each other in the same mirror and, from that place that really has no seat, they lend each other the grace of opportunity, emotion and meaning.

The camera moves through the viewer's gaze among the shadows of a night that never ends and always pending the reflections in the broken glass of memory, in the chimerical museum of inconstant forms, as Borges would say.

I don't know if I have already said that here, in the shared solitude of the cinema, one comes to cry.

The frank delicacy and carnal frontality of a staging that does not spare the mystery itself is impressive.

Less liked, however, is the final cosmic drift (some drawbacks must be made).

But, be that as it may, the depth of a proposal that completely trusts in the gravity of what truly weighs and that, obviously, does not pass, is dazzling.

To love, my Latin teacher said, is the easiest verb to conjugate in grammar and the most difficult to conjugate in life, because, as the poet said, the mysteries of love surpass those of death.

Don't take this lightly, you are about to forget many other things.



: Andrew Haigh.


: Andrew Scott, Paul Mescal, Claire Foy, Jamie Bell, Carolina Van Wyhe.


: 105 minutes.


: United Kingdom.