Movie theater

Reviews of 'Never, almost never, sometimes, always', 'A patisserie in Notting Hill' 'El Drogas' and 'The goddess fortune'



Eliza Hittman.


Sidney Flanigan, Talia Ryder, Théodore Pellerin.


Great Britain-USA.

Year of production:



: 101 minutes

Luis Martinez

The Angelus Novus of Paul Klee according to the reading of Walter Benjamin is pushed by the hurricane of history towards the future, while he, turned on his back, watches a mountain of rubble grow towards the sky.

Some of this apocalyptic and transcendental breath shares the German philosopher's writing with Eliza Hittman's film.

Here too



is talk of harassed angels, infinite landslides and a disaster that, in its silence, reaches up to heaven itself.

And in the same way, it is the future itself, everyone's, which is decided.

Never, almost never, sometimes, always

it is placed in the gaze of a 17-year-old girl who aborts in silence, in the dark and in complete solitude.

Or almost.

The protagonist (Sidney Flanigan) and her friend (Talia Ryder) flee their native Pennsylvania to New York.

Everything will happen in just two days.

The director turns this minimal plot into

an authentic and superb journey to the depths of the night, into a naturalistic, melancholic and stark drama about the harassed adolescence.

With unusual precision, without underlining a line, letting the pain breathe through the innumerable wounds, Hittman manages to compose a rare, absent and very deep symphony of pain.

The photograph between saturated and only broken, the necessarily fractured soundtrack and the gaze broken into pieces make up a universe of rubble, strange and very close at the same time.

The result is the closest thing to a pagan miracle, to a secular cantata.

They are the ruins that the new angel contemplates as he is drawn into the future.



Eliza Schroeder.


Celia Imrie, Shelley Conn, Shanno Tarbet, Rupert Penry-Jones.


United Kingdom.

Year of production:



97 minutes

Alberto Luchini

The Spanish title, a hybrid between

A pastry shop in Tokyo


Notting Hill

, has nothing to do with the original,

Love Sarah

, but it perfectly sums up the content of Eliza Schroeder's debut film: as in the Japanese film,

several characters that do not they can be more disparate, they start a candy business

and, as in the mega-hit starring Julia Roberts, the London neighborhood is the scene of a complicated love story.

The film, which goes from more to less,

starts almost like a melodrama and immediately turns to a gastronomic comedy,

in which the start-up of a pastry shop gives rise to the funniest and, of course, sweet moments in the footage.


little by little, the pure and simple romantic comedy prevails to lead to an inevitable and, with so much sugar involved, a somewhat cloying happy ending.

But, sometimes, indulging in good vibes isn't so bad either ...



Natxo Leuza.





Year of production:



: 80 minutes

Alberto Bermejo

Behind the image of each rock star there are surprising stories that can mix heroic, childish or tender flashes, to outline an unimaginable figure, almost the opposite of what their appearance may suggest.

Natxo Leuza's


on El Drogas -Enrique Villarreal,

legendary leader of Barricada- tries to be a more or less intimate portrait of this charismatic and singular character

who reconstructs with unequal precision both his public and personal trajectories, pausing profusely in some aspects and moments and tiptoeing through others that seem decisive.

The character's cracked voice, invested with the dignity that age instills, recalls with a mixture of pride and nostalgia his musical beginnings with that group that became a benchmark of the roughest route in Spanish rock, as a catalyst and reflection of the vindictive agitation that flooded the streets of the popular Txantrea neighborhood in Pamplona in the 70s.

A born survivor,

Villareal portrays himself as a venerable family man who lives off what he works, expands on some especially sad episodes

, such as his expulsion from Barrica or the death of one of his old colleagues, and reduces his memories to vague memories and elusive reflections. relationship with the substances on which its artistic name is built.



Ferzan Ozpetek.


Stefano Accorsi, Edoardo Leo, Jasmine Trinca.



Year of production:



: 114 minutes

Alberto Luchini

Along with French François Ozon, Canadian Xavier Dolan and, of course, Pedro Almodóvar,

Turkish-Italian Ferzan Ozpetek

is the greatest and best chronicler in the gay world.

Practically all his filmography revolves around male homosexuality and his new film, inspired by real events, is no exception.

It tells the story of a couple in crisis whose daily and resigned monotony is disturbed by the arrival of an old friend who suffers from a serious illness and asks them to take care of his two children.

From here, Ozpetek sets up a kind of fable, in which the two protagonists become fairy godmothers of the little ones, in contrast to the threatening ogre that their grandmother represents.

This mission will give a new direction to their lives.

Despite some unnecessary licenses (the bad one is sketchy and exaggeratedly Manichean),

the film oozes sensitivity and melancholy, infused with a welcome sense of humor.

The main trio is excellent.

According to the criteria of

Know more


This news has no comments yet

Be the first in give your opinion