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Amor idiota (2004) More at IMDbPro »


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Lluís-Anton Baulenas (novel)
Ventura Pons (adaptation)
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Release Date:
11 February 2005 (Spain) See more »
One night, Pere-Lluc heading home drunk, hits his head on the aluminum ladder a girl is using to hang banners from the streetlights. As the days go by, he becomes more and more obsessed with her. Full summary » | Add synopsis »
3 nominations See more »
Fermat’s Room (2007) Movie Review
 (From Beyond Hollywood. 2 September 2009, 8:21 PM, PDT)

User Reviews:
I Feel Sure There Was A Point To This See more (7 total) »


  (in credits order)
Santi Millán ... Pere-Lluc
Mercè Pons ... Jordina
Marc Cartes ... Àlex
Jordi Dauder ... Benet
Gonzalo Cunill ... Nicco
Andrea Fantoni ... Vera

Cayetana Guillén Cuervo ... Sandra
Héctor Mas ... Ajudant
Pere Tomàs ... Marit
Xavi Fernández ... Hostaler
Maria Lanau ... Noia radical
Carmen Turpin ... Noia ocasional #1
Heidi García ... Noia ocasional #2
Sophie Evans ... Noia ocasional #3
Roger Casamajor ... Dissenyador
Joan Antón Rechi ... Director
Lourdes Barba ... Helena (as Lurdes Barba)
Esteban Mihalik ... Veí
rest of cast listed alphabetically:
Marta Martí ... Rossa del restaurant (uncredited)

Christian Rodrigo ... (uncredited)

Directed by
Ventura Pons 
Writing credits
(in alphabetical order)
Lluís-Anton Baulenas  novel
Ventura Pons  adaptation

Produced by
Toni Cairat .... associate producer
Ventura Pons .... executive producer
Original Music by
Carles Cases 
Cinematography by
Mario Montero 
Film Editing by
Pere Abadal 
Casting by
Pep Armengol 
Art Direction by
Bel·lo Torras 
Costume Design by
María Gil 
Makeup Department
Anna Asensio .... make-up and hair assistant
Ana Cortés .... make-up and hair assistant
Maru Errando .... make-up and hair
Natalia Montoya .... make-up and hair assistant
Production Management
Valentí Closas .... unit production manager
Aintza Serra .... production manager
Second Unit Director or Assistant Director
Salva Ferrer .... third assistant director
Emilio Martínez-Borso .... third assistant director
Matías Scartascini .... second assistant director
Fernando Trullols .... first assistant director
Fernando Trullols .... second unit director
Art Department
Albert Allué .... props
Pere Carreras .... assistant art director
Jordi Fernández .... art assistant
Elis Ferrer .... property master
Joan Ramon Galindo .... props (as Joan Ramon Galindo 'J')
Sergio Hernández .... art: Buenos Aires
Sandra Álvarez .... artistic advisor
Sound Department
Marcos Martínez .... sound mixer
Natxo Ortúzar .... boom operator (as Nacho Ortuzar)
James A. Puig .... dolby consultant (as Jaume Puig)
Anna Solanas .... making-of-crew: sound
Boris Zapata .... sound
Camera and Electrical Department
José Luis Alonso .... electrician
Blanca Anunzibay .... assistant camera
Javier Arrontes .... focus puller
Alfons Casal .... video assist
Nicolas Delgado De La Camara .... camera operator: Buenos Aires (as Nicolás Cámara)
Marc Gonzalo .... camera trainee
Juliana González .... camera operator: Buenos Aires
Lluís Quílez .... making-of
Poli Ramiro .... gaffer
Pere Selva .... still photographer
Ismael Sánchez .... electrician
Isaac Vila .... making-of: camera operator
Costume and Wardrobe Department
Ángela Casillas .... seamstress (as Ángela Cassillas)
Macarena García .... costume assistant
Editorial Department
Jordi Arañó .... making-of editor
Noemí Dulau .... digital intermediate colorist assistant
Music Department
Natasha Bezodnaya .... musician
Carles Cases .... orchestrator
Tigran Danielyan .... musician
Xavier Figuerola .... musician (as Xavi Figuerola)
Arkady Futer .... musician
Alexei Gorbenko .... musician
Andrei Kevorkov .... musician
Vera Kuligina .... musician
Marina .... musician
Konstantin Mekezhnikov .... musician
Andrei Mijlin .... musician
Anna Pissarevskaya .... musician
Josep Lluís Pérez .... musician (as Josep Lluis Perez)
Alberto Rodríguez Ayala .... musician
Konstantin Senine .... musician
Mikhail Spivak .... musician
Alexei Tsyganov .... musician
Vadim .... musician
Joaquín Valdeón .... conductor
Yana .... musician
Transportation Department
Joan González Orduña .... transportation
José Marín .... transportation (as José Marín Púa)
Vicent Tarrides .... transportation
Other crew
Toni Baurier .... production trainee
Micaela Buye .... production: Buenos Aires
Jaume Cuspinera .... production coordinator
Joan Estrada .... press
David González .... production trainee
Javier Hernanz Zajara .... creative services manager
Jessica Montaner .... production assistant
Itati Moyano .... script supervisor
Francesc Navarro .... production coordinator
Lucía Ongay .... production: Buenos Aires
Vicky Polls .... opening credits
Edu Sánchez .... second production assistant
Ester Velasco .... production secretary
María Bianco .... thanks

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
104 min
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:

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Comença l'aventura amb les tres germanesSee more »


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2 out of 5 people found the following review useful.
I Feel Sure There Was A Point To This, 2 May 2010
Author: Muldwych from South Korea

Pere-Lluc is a man unsatisfied by ordinary life. In his mid-thirties and drifting through an existence devoid of meaning, he passes his days a slave to his instincts, aware of the consequences reckless abandon brings, but entirely unmotivated by reason or common sense. A chance encounter with the striking and married director of an advertising firm one evening suddenly gives his life purpose, as he pursues her with a desperate licentiousness - aware of the consequences, but a slave to animal instinct. Inevitable misunderstandings ensue, but Pere-Lluc cannot fight his instincts - he must have the object of his desire, even if it means suffering pain and humiliation to get it.

With 'Amor Idiota', I find myself challenged to pin down the point writer Lluís-Anton Baulenas and director Ventura Pons were trying to make: 'stalking - you'd pretty much have to', perhaps? There are certainly strong indicators that the more well-trodden message of love, wandering, and sunsets will lift us through the chaotic waters of emptiness and self-loathing is the principal message. Unfortunately, the characters designed to illustrate this ideal are painted far too shallow to make any of their actions believable, let alone convince the viewer of the ending that results almost in spite of their actions. Their maladjusted behavior and fatalistic philosophies, which form much of the film's dialogue, are ultimately squandered as a result. It's interesting in turn how hard the script attempts to apologise for its lead character's impulses, with Pere-Lluc being highly self-aware of his 'idiocy', as though the idea that someone unfulfilled by ordinary life is horribly wrong - clearly they must be social refuse.

'Idiocy' here is almost a misused euphemism - acting upon impulse alone suggests a lack of intelligence, yet in human terms this does not make the principal characters stupid, merely self-centred, driven to depression and frustration by the ticking clock and their inability to subscribe to society's expectations of where they should now be in their thirties. I can easily sympathise with anyone who finds themselves in this position, yet because the dramatis personae in 'Amor Idiota' are drawn in such unsympathetic and antisocial ways, this entire avenue of middle-aged social commentary is bulldozed to rubble within the first few minutes, the remaining debris atomised by the stunning cowardice or perhaps cornball mismatch (I can't decide which) of the ending.

Yet the whole misadventure did not leave me bored, perhaps because its silliness kept me guessing. Somehow, I felt compelled to find out where Pons was going with all his maltreated philosophy, and would Pere-Lluc have evolved as a person now that stalking had given his life meaning? I wasn't best pleased with the result. The film's unpleasant characters and grotesque discourse compelled me despite myself, curious to see how it would all come to a head, but the finale made me feel an idiot for watching.

The unsurprising standouts of the cast itself are Santi Millan, whose portrayal of the bored, intellectual sleaze Pere-Lluc is right on the money, assuming that this was the intent. I probably saw a bit more of his genitals than I would have liked - that they are symbolic of Pere-Lluc's surrender to his animal instincts is more desirably clear through the several thousand lines of dialogue stating this point. Cayetana Guillén Cuervo provides an interesting contrast, with the character of Sandra slowly revealing the many layers of her troubled personality to the point where she fits right in with the rest of the gang of misfits. With Pere-Lluc baring all that he is from the beginning, this peeling of the onion provides a welcome and necessary contrast given the ultimate similarity of the leads.

While I'm not a devotee of the romance genre, I can't help feeling that it's so over-mined that the sub-oeuvre of 'misfits in love' itself is bound to have been explored to better gain elsewhere. Whether Ventura Pons will have been discovered to have been deeply misunderstood is something for future ages to ponder. For now though, 'Amor Idiota' stands as a mish-mash of valid discourse executed badly, causing at least this reviewer to wonder if he's either missed the point or been punished for thinking too deeply. Then again, the lead characters manage to achieve both without really coming to a satisfactory conclusion. That in the end, is how this Barcelona farce left me.

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