My grandmother's mother once gifted me a blanket (which I still treasure). It's a patchwork quilt, handmade, that she brought with her when she migrated from Rize to Istanbul in the 1930s, crafted during her youth. I used it for years, but it was only as I grew older that I truly appreciated the intricate detail and laborious effort that went into its creation. It may appear to be a simple blanket, yet each patch was meticulously cut from old garments and sewn together to form a harmonious whole. It's a tapestry of lived experiences, woven together with countless fragments of memory.
You might be wondering, what does this have to do with the film at hand? Allow me to elaborate.
I hold Paz Vega in the highest regard; she is, in my estimation, a divine creation. I've lost count of how many of her films I own on DVD and Blu-ray. When I heard she was directing a film, and that it would premiere at the Piazza Grande during the 77th Locarno Film Festival, I was already certain it wouldn't be a bad film. But I hadn't anticipated something this nuanced, this exquisitely crafted.
Actor-turned-directors often produce fine films, their years of experience in front of the camera likely contributing to their success. However, some of them create not just good films, but truly exceptional ones. Paz Vega belongs to this latter category, and she may very well be the finest among them.
Filmed entirely in Andalusia (which, as an ardent admirer of the region, immediately captivated me), the film tells the story of two siblings, Rita and Lolo, aged 7 and 5, during the UEFA Euro 1984. Or rather, it uses these two remarkable child actors to paint a breathtakingly poignant picture of social realism.
The ability to weave grand narratives from small stories is a hallmark of world literary classics. Dostoevsky and Melville, for instance, tell us tales of seemingly insignificant individuals, unknown and unrecognised by the world, yet behind the scenes, storms rage, and you feel it deep in your bones.
How Paz Vega achieved this in her directorial debut, with her first screenplay, is beyond comprehension. It's no wonder I consider her a divine creation.
The film, opting for a 4:3 aspect ratio to enhance its narrative (a choice I usually detest, as those who know me are aware), proves the wisdom of this decision. Through the lens of Eva Diaz Iglesias' cinematography, whose work I was previously unfamiliar with, we are treated to a truly magnificent cinematic experience.
Completed on a budget of 2 million euros, a paltry sum by today's standards, the film features a cast of actors and actresses I've never encountered before, yet each delivers a performance so superb that it feels like a cinematic feast.
This story is based on real events, but it's not just the screenplay that reflects this authenticity. It's in the father's embrace of his children, the way the breakfast table is set, the children playing with their toys amidst the chaos, yet subtly conveying their awareness of everything, the awkwardness of someone who never smokes holding a cigarette... and so on. I don't know how Paz Vega assembled this cast or how long it took, but working with a team so deeply invested in the project is every filmmaker's dream.
Without further ado, I must add that the depiction of 1980s Spain is simply exquisite. It evokes a sense of nostalgia, reminding me of the Istanbul of my childhood. Paz Vega's set transported me back in time.
Yes, this is a personal work, but it lacks the grandeur of Alfonso Cuarón's "Roma," a film Vega deeply admires. It's far more delicate, more genuine, more... Paz Vega.
PS: I gave a standing ovation to the two young actors. They were simply phenomenal.
