In 'Gegen die Wand' Cahit, a 40-something male from Mersin in Turkey has removed everything Turkish from his life. He has become an alcoholic drug addict and at the start of the movie wants... See full summary »
Angel, an exterminator recently released from a mental hospital, comes to rid a small Spanish town of tiny grubs in the soil. The local wine-making industry has found these pests ... See full summary »
Lucía is a young waitress in a restaurant in the centre of Madrid. After the loss of her long-time boyfriend, a writer, she seeks refuge on a quiet, secluded Mediterranean island. There, bathed in an atmosphere of fresh air and dazzling sun, Lucía begins to discover the dark corners of her past relationship, as if they were forbidden passages of a novel which the author now, from afar, allows her to read. Written by
The movie is divided in two chapters: "Lucía" and "El Sexo" which gives its title to the movie. See more »
The first advantage is at the end of the story. It doesn't finish, it falls in a hole. And the story starts again halfway. The other advantage, and the biggest, is that you can change course along the way... If you let me. If you give me time.
All the time you want.
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Credits scroll in the opposite direction. See more »
This movie works much better for me if I believe that everything occurring up to the closing scene, in which the writer rises from his keyboard and walks over to the woman at the window, occurs inside that unnamed, unidentified writer's head. In other words, everything we see up to that point, what we think is the movie, is actually the novel that writer is working on. "Lorenzo," "Lucía," "Elena," "Luna," "Belén," and even the editor "Pepe" are merely characters in that novel. The novel our "Lorenzo" is working on, the one "Lucia" sneak-reads, is a novel-within-a-novel. The back-and-forth time shifts are the larger novel's structure and only the movie's structure by default. The novel closes with "Lorenzo's" fantastical plot device of characters falling through a hole, coming back half-way into the story, and changing course: "Elena" and "Luna" reunited and playing in the piazza outside "Lorenzo's" flat. If this was Julio Medem's vision, then it was brilliant. If not, it's still an excellent movie. I think the naysaying commentators I've read need to watch the movie again.
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