‘Iván & Hadoum’, a hot ‘Romeo and Juliet’ set in Almeria, played against wind and tide at Berlinale

In an edition exceptionally short for the Spanish cause, Ivan & Hadoum inherits the testimony of Deaf Evy Libertad, Public and European Exhibitors Award (CICAE) in the Panorama section last year.

This is Ian de la Rosa’s guest debut Veneno y director en Blue dressand among many short graduates Farrucas (2021) Victor XX (prize from the Cinéfondation de Cannes in 2015).

Romeo and Juliet on the phone in a village hidden in Almería in the fields of hortalizas: there, Ivan, a young man who has fallen into the eternal act of a family that supported him during his change of sex, falls in love with Hadoum, a child for debajo in the factory and the similarity of acts with his work companions, all in trouble before an impending emergency.

Ian de la Rosa sees “Iván as the emotional core and Hadou as the counterweight to everything that Iván believes he’s obligated to be,” he explains in a previous interview outside.

“Intimidation is a form of resistance and that a big revolution always starts with small personal revolutions,” he continues, “and that’s what this film is about: how love can be the beginning and engine of a revolution that starts on a personal level.”

Ivan & Hadoum they aspire to be informative and exciting except equal. On the one hand, and from reasonable realism, you went to its greatest heroes in the canon of the New Spanish Cinema (de Black eyes on Secaderos), Ian de la Rosa works to make hills visible This forbidden romance is shamelessly archetypal– their integration into the researched file of documentary aesthetics.

The heart of desiantes as a movement of social transition, class as the last of affections; Proficient reading topics grab everyone’s attention as they provide text and an easy reading guide every time.

Most interesting are the escapes offered by the same film, telling about the clarity of the story: the sex scenes between Ivan and Hadoum – hidden among dunes, rocks and haze – subdue the orthodox arrangement of the body on stage, landscape and background.

Son cuerpos entre la polvareda, recortados ante la luz nocturna de la costa, imprimidos en negativo por las cámaras de infrarrojos que vigilan los campos.

Cuerpos, sin embargo, que se escapan por entre paréntesis demasiado breves y no muy afilados. Como sí logró El agua de Elena López Riera (un debut trampa, pues ella lleva muchos más años a las espaldas), servidore desearía que la representación del eros asalvajara de veras la fórmula conocida y la desbordara en una mezcolanza cinematográfica realmente transgresora. Por suerte, a Ian de la Rosa le queda cine por delante.

Sunny Dancer encandila Berlín

Hay algo de cuidadoso en juzgar una película por sus propios términos, especialmente ante propuestas como la segunda película del actor y director George Jaques (al lado de Jude Law en la colosal The Third Day: Autumn), de 25 años.

Sunny Dancer basa todo su encanto en el carisma de Ivy (Bella Ramsey), una joven de 17 que tras superar un cáncer acude a un campamento de verano para adolescentes con historial oncológico y que, sí, con la lengua bífida pero encantadora de Claudette Colbert y las otras heroínas del screwball, deja muy claro a sus padres (unos deliciosos Jessica Gunning y James Norton) que no quiere estar allí.

Jaques, también al cargo del guion, deja bien demarcadas las sombras de la conmiseración de las que Ivy trata de escapar rebelándose ante todas y cada una de las iniciativas “inspiracionales” del apodado “campamento quimio”, que regenta Neil Patrick Harris (porque, como en cualquier marginalidad, la frontera es difusa entre el caso inspiracional y un bonito florero).

on the contrary Sunny Dancer if you write like a distinctly optimistic diary on a bright front porch, AND of age where cancer is at the center of all conversations in practice, however, it is built on scenes of dreamlike adolescent euphoria with lots of musical montages with hits Trilled (but infallible) Scissor Sisters or James Blunt, and with a few unpleasant arguments that never stop the happiness of his group of young protagonists.

Sunny Dancer it aspires to euphoria, to the recognition of the mixture through the emblematic gas of cinematography. It follows that by embracing the shackles of a familiar formula and falling away for a chorus of young people with very short films in their arms, true youth.

Just enough to make teenagers Daniel Quinn-Toye, Conrad Khan or Earl Cave aware of the rumor that Bella Ramsay separated them after the end The last of us.

Now, as casting directors Daniel Edwards, Lucy Allen and Tom Payne know, so do they Heart stoppersthis is the station of age original.

And you are fine. Explain to George Jaques how it came about temple of joyall things considered. When a creature in the movies suffers from cancer, he says, “It’s all so depressing. Obviously, people are dying, and it’s horrible.”

But it’s not common to meet a young person with cancer who just feels miserable. Everyone is trying to enjoy life to the fullest.”

Asymism, as he recalls, “it’s hard to imagine that they are sick and bald children; they want to be like these people who, even in the face of pain that may befall them, continue to overcome themselves and meet the light in the most unexpected places.”

For this reason, the film patinas only in the shadows, unbalanced and out of tone in the final round. This is what he says when he puts argumentative efficiency before happiness; preferring a recipe to a bizcoch, an inspirational prayer to a life for the better.