Allrighty.
Time for a bit of Spanish spice and salsa methinks. But this film is NOT your
typical Spanish film. Nor was it directed by Almodovar. Now, I specify that
because in some circles, I am getting the impression, Almodovar’s name and
Spanish cinema are getting entangled in a way that Depardieu and Reno’s names
are getting entangled in French cinema. As in, we don’t seem to see a film from
France without one of the two actors in it. This, however, would be slightly
unfair on the rest of French cinema. The same is true for Almodovar and Spain.
Almodovar is one of my categorically favourite directors, but there are some
really good films out there that he didn’t actually direct. This is one of
them. And I really want to share it because this film really impressed me. It
starts off looking as if it’s going to be something quite mundane –a very dear
friend and I were watching it for a lecture and were unsure as to why the
lecturer would ask us to watch it in the first place – but as the film
progressed, it turned into something so exciting and so extraordinary that it
made its mark on the entire year (not least because, much to our frustration,
the film was slightly longer than our slot in the viewing room so we had to
fast forward the end first, then watch it properly later). But anyway. Enough talk. Let’s get on with
this thing.
Having
broken up with his girlfriend of many years, Jota has decided that life, all in
all, is really not worth living. He is on a bridge contemplating ending it all
when he witnesses a motorcycle accident. The driver – who turns out to be a
young woman – is badly hurt so Jota calls an ambulance. When the young woman
tells the doctors she cannot even remember her own name, Jota steps in. He
invents a name and a past for her, pretending her name is Lisa and that they
have been living together for many years. Soon, when her physical injuries
heal, Lisa is discharged with no apparent sign of her memory returning… The
couple decide to take a few days off and go camping. Which is where the whole
thing begins to fall apart. Not only does Jota begin to suspect Lisa may
actually remember things she is not telling him, other characters begin to
appear on the scene that begin to cast doubt both on Jota’s story and on
Lisa’s. The rest is such a surreal masterpiece that I really do not want to
give more away but believe me, you will NOT see what is coming.
This film
manages so many things at once. First of all it is a world class thriller.
Seriously, Hitchcock himself would be proud to sign his name under it, it’s
that good. Another director that supports the film is, the internet informs us,
Kubrick who apparently said it was among his favourite films. I have not actual proof of this statement but
I would not be at all surprised if it were true… Because seriously, it is THAT good. You may
think, for example, that sticking surreal bits into a thriller would be a bad idea
no matter how good the thriller was – or possible especially IF the thriller is that good. No. When it is
done well, it is done well. Serving venison in chocolate sauce does not sound
like a good idea on the surface either but it is a delicacy (ask Gordon Ramsey
if you don’t believe me) served in very expensive restaurants. Same here. You
may also think that the plot is a little too cliché to be as good as I say. Ah
but you see, to every story there is a kernel of cliché, no matter which way
you slice it. It is the original treatment of it as detailed above, coupled
with the great acting and the intelligent plot twists that mean that this film
is something properly special. On the other hand, let me just point out that
when I say surreal, don’t think it’s going to go all arty on you and shy away.
Oh no. It is very tastefully done, at just the right amount. Besides, you’ll be
so caught up in the story that I’m pretty sure that even if you positively
loath surrealism, you could forgive it, just to get to the bottom of things…
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