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‘The innocence’ has the endorsement of his two nominations to the Goya, and the seven nominations earned for the award of Gaudí, as the great letter of introduction prior to your arrival in theaters this Friday, January 10th. An incentive additional to discover the directorial debut of Lucia Alemany filed for the last Festival of San Sebastián and that ran the risk of going unnoticed by our board.
Alemany puts special emphasis on the naturalness in his first feature film, leaving laid out what he wanted to tell in the script, but at the same time giving freedom to his actors to improvise and adapt the characters to what they understood. The result is a ribbon that takes hold of the everyday to narrate a stage very concrete in the life of his protagonist, a rookie Carmen Arrufat to which I hope to see in many more films.
The way to go in life
Who has grown up in a town he knows very well the peculiarities of this type of life, from the few things that you can do really until the brake can be for your future. It is a life placid anchored in the values somewhat questionable now that you can end up asfixiándote. In the case of ‘innocence’ we attended as a teenager has decided that he wants to go to Barcelona to study circus, but I still needed to make this concrete if it even comes to be possible.
In fact, ‘innocence’ we sitíua to end of summer with the holidays of the people running out. The stage prior to the return to a daily routine that can be that you simply don’t fill the inside, complicated even more by the relationship of Lis (Arrufat) with her boyfriend Joel. A relationship that wants to keep secret -even denies to his friends repeatedly that he is your partner – in order to avoid the tale behind the neighbors.
Alemany seems to be looking all the time the purity of the emotions of Lis, to be very clear when it is to delight, sad, happy, or any other state. That’s what makes ‘innocence’ is a proposal that was very clean in that the new readings are hardly possible. One always knows that what he is looking for us to broadcast, but that adds to your way through a delicate balance between the comic -more present in the initial stretch – and dramatic -more powerful as they advance the minutes, thus creating the ideal climate to promote its virtues.
And that is the great virtue of the work of Alemany is on to get everything flow normally and one feels as real to the characters that are on screen instead of mere pawns of the story it wants to tell. For this you know reflect very well on the screen, the tranquility of village life in parallel to the emotional journey of its protagonist, who never comes to completely losing the innocence despite the fact that this is put to the test on repeated occasions.
it Is true that there are scenes more intense emotionally, especially when a conflict arises between Lis and another character, whether it is fiancé, his father -that the two come to be to represent almost the same thing, something that she needs to flee in order to become the person that you want to – or your mother, but never to be overload-free. Everything is very well measured, but at the same time it feels natural.
To achieve this, it also helps a wise decision of casting, mixing actors more veterans like Laia Marull or Sergi Lopez with new faces as Arrufat. In some ways this carries the need for some spontaneity as the imperative of not getting all of the initial plans. Surely the Lis that we see finally on screen differs quite a lot from the one that was in the script, but also sure that it is a logical evolution resulting from the combination of efforts.
‘The innocence’ is a remarkable letter of presentation for both Lucía Alemany as for Carmen Arrufat, with the first getting dump own experiences but without subjecting the film to them, and the second demonstrating a great talent to carry the dramatic weight of the role. I’m not going to deny that there can be the feeling of already having seen similar stories on many occasions, but also has the freshness necessary as to not result to anything annoying in the case that occupies to us.
The news ‘The innocence’: a remarkable debut that reveals to us two of the great revelations of the Spanish cinema was originally published in Espinof by Mikel Zorrilla .
January 11, 2020