El sur

Victor Erice's little masterpiece earned itself a permanent place in the repertoire of Spanish film-making. Not surprisingly: Franco was dead and Spain had bravely struggled out of a difficult transition to form a now much-respected democratic and modern nation. If art - whether literature or cinema - is to reflect that important step in a country's advance, perhaps "El Sur" (The South) is one of the four or five Spanish films of the last twenty five years which best marked that change.

Beautifully filmed in natural lighting, even in the interior of an old rural house (Ezcaray, La Rioja), the deep feelings transmitted between daughter and father reveal a delicacy so often missing in more banal entertainment. Young Sonsoles Aranguren and Icíar Bollaín play delicious roles which swing rather uncertainly from late adolescence to young womanhood as the daughter who attempts to fathom out her father (and in so doing, herself) with an extraordinarily powerful performance which obliges the intelligent viewer into the film. And Omero Antonutti plays the exact counterpart, carefully balancing his role such that he never overshadows his "daughter's" interpretation. The scenes and dialogues are enchanting, never over-acted or otherwise exaggerated; at all moments Erice maintains full control over the film's development, giving just enough touch of exquisiteness and sensitivity, allowing the film to move unhurriedly through simple but moving scenes to the predictable outcome.

Here indeed is moving theatre-cinema: the understanding spectator will leave with a certain mixture of feelings if he knows a little of Spain and its people; he will not leave unmoved, cold.