Yoyes (2000)

Director:

Helena Taberna

Writers:

Patxi Amézcua (script collaborator)
Inmaculada Cánovas (script collaborator)

Release Date:

31 March 2000 (Spain)

Genre:

Drama

Awards:

7 wins & 3 nominations

Cast

Ana Torrent	...	Yoyes
Ernesto Alterio	...	Joxean
Florence Pernel	...	Hélène
Ramón Langa	...	Koldo
Iñaki Aierra	...	Argi
Ruth Núñez	...	Bego
Martxelo Rubio	...	Kizkur
Gonzalo Gonzalo	...	Zaldu
Asier Hernández	...	Kaska
Aitzpea Goenaga	...	Chica Kaska
Mikel Albisu	...	Padre Yoyes
Pilar Rodríguez	...	Madre de Yoyes
Juanma Rodríguez	...	Aitor
Anartz Zuazua	...	Manu
Joxean Bengoetxea	...	Motorista 1

Runtime:

104 min

Country:

Spain

Language:

Spanish

Color:

Color

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby Digital

Company:

MACT Productions

Movie Connections:

Featured in La pelota vasca. La piel contra la piedra (2003)

Soundtrack:

My Baby Just Cares for Me

clear but no surprises

As a fictionalised reconstruction of a personal story linked to history, Yoyes works well. The central character is strongly portrayed and multi-dimensional, and Ana Torrent's performance is totally convincing. The situation is made reasonably clear - given a bit of background knowledge, or at least a conception of the European seventies. Flashbacks are carefully flagged and judiciously used and private and public are nicely blended. Yoyes reacts to each event in a way which is pretty well matched with the predictable reaction of the liberal-minded viewer, and is seen to do so. It's all beautifully shot. So far, so fine.

So why is it a little disappointing? At first one feels inclined to blame relatively minor issues. For example, while the 'good' characters are fairly rounded and believable, although predictable, the 'baddies', - of all shades - seem somewhat caricatured. And the beautiful scenery and even the fairground folklore isn't really integrated with the story and ends up a distraction. But in the end the problem is superficiality. Not that the film doesn't try to address the issues seriously, but it does so in the end like a piece of good journalism. It makes the most obvious relevant points, but it pushes them no further: we see only the most visible aspects of 'Basqueness', and on a personal level neither Yoyes nor anyone else ever surprises. It's neither a genuine analysis of the Basque situation, nor a vision of Yoyes' world as she and her colleagues and enemies live it, it's a good Sunday-supplement article, put on film. It gives basic information accessibly, but it's not essential, and it doesn't haunt.