La Mirada Spanish Film Festival

Dates: 1-11 April 2010
Venue: ACMI, Federation Square, Melbourne

Spanish language films are vibrant, sensual and often arcane with noted directors from Bunuel to Almodovar and del Torro. In its fourth year, La Mirada showcases the best from Spain and Latin America co-programmed by Pedro Almodovar with guest curators Martin Scorsese and Stephen Daldry. Now there’s an interesting combination of film talent.

Highlights of the program include The Last Summer of La Boyita, Julia Solomonoff’s delightful coming of age film as two Argentinian children begin their transition to adolescence; Hierro, Gabe Ibanez’s dramatic account of a child’s disappearance and his mother’s nightmarish search to find him against the threatening background of the Canary Islands (from the producers of Pan’s Labyrinth and The Orphanage).

The Almodovar program features another thriller, Thesis, Alejandro Amenabar’s 1996 classic on the fascination with violence in our contemporary audiovisual society. Amenabar went on to direct The Others. The program includes an Hitchcockian thriller, A Good Man, from Juan Martinez Moreno; and Map of the Sounds of Tokyo, a touch of erotic film noir about a girl working at the Tokyo fish market who doubles as a ruthless hit woman.

On the lighter side, Tango lovers are catered by several films with Sally Potter's The Tango Lesson and Café de la Maestros; comedies come in the form of A Matter of Principle and the classics Robbery at 3 O’Clock, and The Swindlers. Showing more than thirty films, there's something for everyone. Here's a sneak preview of two I enjoyed.

Me Too (Yo, tambien) Comedy/drama
This heartwarming and thought-provoking offbeat romance set in Seville may have you wondering at the end what is 'normal'. Daniel (Pablo Pineda) at 34 is the first European afflicted with Down Syndrome to graduate from University, and holds a job in the Office for the Disabled. He works in close proximity to sensuous if dysfunctional blonde Laura (Lola Duenas) and they become friends. Daniel has the urges of any normal man and wants to take the relationship to the next level. But the lonely, emotionally damaged Laura has a string of one night stands and keeps Daniel at arm's length.

Dealing with this sensitive subject, directors Antonio Naharro and Alvaro Pastor manage to avoid the overly sentimental, yet really make us feel for Daniel and his friends trying to live normal lives. Outstanding work by the leads give credence and humanity to the story; with Pablo Pineda virtually playing himself with dignity, and matched by a marvelous performance from Lola Duenas (Broken Embraces) as Laura.

At the beginning she’s cynical, looking for a good time at nightclubs and taking men home to bed. Laura doesn’t know the meaning of love. Later in the film, after realizing Daniel needs her affection, her attitude changes and in the last scenes she radiates warmth, making the transition totally believable - no easy feat. Her intimate relationship with Daniel is delicately presented. Shaky hand-held camera and grainy available light images don’t do justice to the fine script and acting of the picture. This is possibly due to budget constraints, however it’s better the film was made with minor technical flaws than not made at all. Fortunately the dramatic close shots of faces often held long on the screen make up for the jittery cinematography.

25 Carat (25 Kilates) Crime thriller
This racy, modern action drama opens with high impact and seldom drops the pace. Kay (Aida Folch), is a small time car thief in Barcelona whose gambling addicted father Sebas (Manuel Moron) tries on bigger scams which fall in a heap. So he’s owing money to Russian heavies as the film opens. Abel (Francesco Garrido) is a stand-over dept collector who's constantly struggling to bring up his young son. Kay runs into Abel during a failed car heist and they become partners in crime. But Sebas, caught up in his own web of deceit, brings them all into danger. Particularly threatening is bent cop Garro (Joan Massotkleiner) who is seeking revenge for his stolen loot. He has the look of Inspector Montalbano playing a bad guy.

Director Patxi Amezcua excels at recreating the gritty underworld characters and their milieu. The plot twists and turns with a raw conviction as minor players are wanting a bigger part in the world of crime. There’s no glamorizing here; it’s all gut-punching violence and corruption. Aida Folch, a sultry screen hugger, is well-served by her sensual close-ups, while the rugged Francesco Garrido manages to balance his rough justice with being a caring father. Tough hombres, hot chicks, bent cops, and a clever Barcelona storyline - what more do you want?

John Bale