Anita has been working at a cinema box office for almost three decades, but the building is demolished to give way to a cinema complex, and she is forced into early retirement because she does not fit into the new company's image.
A young drama student interviews three great actresses: an international diva, a television star and a dubbing director, and she discovers, in their memories, the grandeur and the misery of theatre: a real metaphor of life.
Rosa Maria Sardà,
The established relationship between university student Bruno and aspiring photographer Carla is thrown into turmoil when Bruno feels drawn to sexy karate instructor/break dancer Rai. Complications ensue.
When it appears as though the end is in sight, the pilots, flight crew, and passengers of a plane heading to Mexico City look to forget the anguish of the moment and face the greatest danger, which we carry within ourselves.
Anita sees how the over three decades that she has been working at a cinema box office are literally devastated: the building is demolished to give way to a cinema complex, and she is forced into early retirement because she does not fit into the new company's image. Incapable of getting over the shock, and by inertia, she continues going back to the empty lot every day, where the cinema used to be and where a construction company is building the new complex. By mere chance, she ends up in love and involved with a man who drives a bulldozer at the construction site. A tender and bittersweet affair comes about, which is carried out in the dark, inside a trailer where the company has its offices. He is married and does not hide it. But, despite that, and thanks to their secret meetings, they are both able to open a door to hopes for the future. This is a relationship without perspectives, but in Anita's case, at her early fifties, it helps her to mark a before and after in her life. Written by
I do not generally appreciate light-weight attempts at creating humourous stories, which means that "Anita no perd el Tren" cannot score very high for me. The story is good: a middle-aged but still good-looking woman finds a new love. But the attempts at making this film as a romantic comedy only managed at times to be somewhat comical.
Rosa María Sardà has ably demonstrated that she can be a serious actress in such productions as "Amic/Amat" (qv), "Todo Sobre mi Madre" (qv), "Las Amargas Lágrimas de Petra von Kant" (qv) and "El Embrujo de Shanghai" (qv). However the powers that be have over the years dished her out a lot of trivial stuff, for the cinema and for TV. Something similar could be said of José Coronado: perfectly able to produce serious performances. María Barranco belongs safely in this grouping.
Such that, in the end, I was left with the feeling that I would be real pleased to see a new making of this film, in a serious tone, which would allow the actors to really show their performing skills. And the curious thing is that it should be done with exactly the same leading actors. Wasted talent on a rather silly film that could have been very promising indeed.
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