Victoria discovers that it has left just a short time of life and its only preoccupation is to fix the future of its adolescent son, Mauro, with which it lives in Barcelona. After many years without knowing to nothing of Salinas, his ex- husband and father of Mauro, Victoria it is put in contact with him to sell a house that they have in common, La Atlantida, in order that his son can count on a patrimony in the future. Salinas, a musical well-known that lives in this house in A Coruña, refuse to sell it.
A history where some of the dramas are mixed that have left in the society of principles of new century XXI the excesses, more or less innocent, of years 70 and 80. The consequences of the pastimes transgressors whom their terrible risks were not known that today are so near us: The hard drugs, mainly the heroin, the alcohol, the irresponsible sexual promiscuity, the "free" love, etc. and that today is reflected in the disease of the HIV and AIDS, the children had in broken pairs which they have had to grow without the necessary references of a father and an exact mother and responsibly constituted like such (children by accident), and consequently a life without precise horizons, where what counts it is the day to day.
It is not known very or if this film denounces that state of things or simply is limited to teach a picture to us without any moralizing spirit. Or it justifies them. The things are as they are and as so we accepted them and we coexisted with them inventing a new type to us of relations of which nothing we know, again, its consequences in a future in which, in spite of the final optimist, we intuited that it will not be far better that the present.
It has this film some brief paint faded ones of the use of the children who often make the mothers against the parents. The absent father is the objective of all the resentment that keeps. This way the single son receives the obsessive vision of the mother. It is truth well that in this film the attitude of the father reveals certainly egoistic and egolatra, and the mother, by that reason, will persistently try to avoid the right of the son judging by if same knowing the truth. And he will remove to the right of hatred or love to him.
Nancho Novo interprets a personage near its own reality. As Salinas also is dedicated to the composition within the world of the Rock music. Many of the songs that are interpreted in the film are of their own responsibility. He is a veteran actor to whom him lack conviction in this film. Too much to itself is interpreted. Mercè Pons, Victoria, are a very well-known Catalan actress and whom in this film it little plays a convincing role needing the due credibility before the drama that must incarnate. Too much it is contained. Although that seems to me that it is more problem of the little actoral direction that product of the interpretation. Of that same lack of credibility it undergoes the adolescent artist Manuel Lozano, Mauro, discovered for the cinema by José Luis Cuerda in his magnificent film La Lengua de las Mariposas (Butterfly Tongues). In general to the film him lack direction of actors of hand of Belén Macías that will have to be applied more in its next films if it does not want to see as their pretensions are eclipsed to make solid and credible a drama.
A history where some of the dramas are mixed that have left in the society of principles of new century XXI the excesses, more or less innocent, of years 70 and 80. The consequences of the pastimes transgressors whom their terrible risks were not known that today are so near us: The hard drugs, mainly the heroin, the alcohol, the irresponsible sexual promiscuity, the "free" love, etc. and that today is reflected in the disease of the HIV and AIDS, the children had in broken pairs which they have had to grow without the necessary references of a father and an exact mother and responsibly constituted like such (children by accident), and consequently a life without precise horizons, where what counts it is the day to day.
It is not known very or if this film denounces that state of things or simply is limited to teach a picture to us without any moralizing spirit. Or it justifies them. The things are as they are and as so we accepted them and we coexisted with them inventing a new type to us of relations of which nothing we know, again, its consequences in a future in which, in spite of the final optimist, we intuited that it will not be far better that the present.
It has this film some brief paint faded ones of the use of the children who often make the mothers against the parents. The absent father is the objective of all the resentment that keeps. This way the single son receives the obsessive vision of the mother. It is truth well that in this film the attitude of the father reveals certainly egoistic and egolatra, and the mother, by that reason, will persistently try to avoid the right of the son judging by if same knowing the truth. And he will remove to the right of hatred or love to him.
Nancho Novo interprets a personage near its own reality. As Salinas also is dedicated to the composition within the world of the Rock music. Many of the songs that are interpreted in the film are of their own responsibility. He is a veteran actor to whom him lack conviction in this film. Too much to itself is interpreted. Mercè Pons, Victoria, are a very well-known Catalan actress and whom in this film it little plays a convincing role needing the due credibility before the drama that must incarnate. Too much it is contained. Although that seems to me that it is more problem of the little actoral direction that product of the interpretation. Of that same lack of credibility it undergoes the adolescent artist Manuel Lozano, Mauro, discovered for the cinema by José Luis Cuerda in his magnificent film La Lengua de las Mariposas (Butterfly Tongues). In general to the film him lack direction of actors of hand of Belén Macías that will have to be applied more in its next films if it does not want to see as their pretensions are eclipsed to make solid and credible a drama.
