(Spanish with English subtitles) Joan, an alcoholic actress about to make her debut as a leading actress in a major theatrical play, realizes that her disintegrating marriage and feelings ... See full summary »
Miranda de la Serna
In Curuguazu, located in the Argentinian countryside, seventeen year-old Daniel Montero has been raised by his grandmother for three years since the death of his parents in a car accident. ... See full summary »
In 1931, a young soldier (Fernando) deserts from the army and falls into a country farm, where he is welcomed by the owner (Manolo) due to his political ideas. Manolo has four daughters (... See full summary »
Fernando Fernán Gómez,
At age 42, Rafael Belvedere is having a crisis. He lives in the shadow of his father, he feels guilty about rarely visiting his aging mother, his ex-wife says he doesn't spend enough time ... See full summary »
Victor is a man who gets to Paris to join his family around their seriously ill father, Max. As the chance of selling the family business begins to disrupt the family relationships, Victor ... See full summary »
Fernando Fernán Gómez,
Cuenta la historia de Jorge Pellegrini y Laura Ramallo a lo largo de casi dos décadas. Comienza en 1980 y termina en nuestros días. Cuenta le romance inicial, los posteriores desencuentros,... See full summary »
'Nueces para el Amor' would but be a mere love story, though not in the North American sense, if it were not for several elements that raise this film above such simplistic definition. Life itself is full of fateful events, usually uncontrollable, such that flighty destiny can waylay one at any moment. In this respect, this film can be compared a little with 'Los Amantes del Círculo Polar' (Julio Medem) (qv), not for its content, and even less for its style, but for the way in which capricious fate can play on people's lives. Whereas Medem employs symbol-laden palindromic structures, with great effect, Lecchi's film is lineal spread over many years and its uses of symbolism are much more limited: walnuts (nueces) appear a couple of times in the film well before the connection with the film's title becomes apparent toward the end.
What most stands out for me in this film is the convincing parts played out by the leading actors, Ariadna Gil, who has long since assured me she is about the best actress in film-making in Spain today (qv her mini-biography), and an excellent Gastón Pauls opposite her. Good chemistry here, passionate interpretations from both players, such that some of the scenes are quite memorable. Some improvement in the dialogues might well have enhanced the film. Truly amazing is Señorita Gil's use of a really authentic 'porteño' accent as used in Buenos Aires. But, as I have said elsewhere on IMDb, she is first choice to play 'impossible parts', as she has shown in excellent films such as 'Malena es un Nombre de Tango (qv), 'Tranvía a la Malvarrosa', 'El Embrujo de Shanghai' (qv) and especially in that magnificent drama 'Lágrimas Negras' (qv).
Gastón Pauls, despite being a few years younger than Ariadna Gil, rose to the occasion: good chemistry and empathy combined to produce a credible result, and I must congratulate him for his effort and concentration in managing to come out really well opposite this truly remarkable Spanish actress.
A somewhat quirky element in this film is the different photography techniques used in the different time periods of the film.
'Nueces para el Amor' is not a simple 'love story': I would not bother writing about it if it were.
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