In the half-light of a an old stately home, Samuel Davila and his grandfather Paul, once a revered writer, create schemes to repel the latest in a long line of psychologists come to cure ...
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For Moncho, it's an idyllic year: he starts school, he has a wonderful teacher, he makes a friend in Roque, he begins to figure out some of the mysteries of Eros, and, with his older ... See full summary »
José Luis Cuerda
Fernando Fernán Gómez,
Three children, a woman and two men, friends meet many years later again. Thus arises a triangle: at a vertex, the sex; in another, love; and in the Middle, the protagonist made a mess. ... See full synopsis »
In the half-light of a an old stately home, Samuel Davila and his grandfather Paul, once a revered writer, create schemes to repel the latest in a long line of psychologists come to cure the grandson of his severe agoraphobia: some delicious biscuits with added spice, a refreshing glass of water with added laxative
Marina, Samuels older sister, has been looking after this small family since the death of her parents three years earlier. This was almost certainly the cause of Samuels agoraphobia.
Then Gabriel, Samuels latest psychologist, enters their lives Gabriel is a happy person because he knows nothing better in life. Only once has he had a girlfriend, who left him to marry a whale psychologist and who now calls him every night to ask for his advice about her marriage. For Gabriel, this is not such a bad thing, he considers it part of his everyday routine. He has become accustomed to living his life with the assumption that true happiness is for others, and not for him.
Gustavo Ron, the young author of MIA SARAH, possesses an own style that he drinks in the fountains of the classic big ones Yes, of original one might qualify MIA SARAH, the unusual first opera of this new director, that starts out in the feature film with a bold proposal, counterflow in the current Spanish cinema. It is more, this first feature film distills poetry, surrealism and magic, absent values in the screens of the cinematic generation of the new century.
Born in Madrid (1972), but formed in Barcelona, Gustavo Ron graduated in Production, Script and Direction in the famous London International Film School a decade ago. There he learned the profession for he took celluloid in the blood- and started to collaborate in tasks of production and script in Spanish, French, German and American movies. At the same time, he has directed three shorts and a documentary film. Afterwards, among other works for he also cultivates the musical composition and the poetry-, he obtained the confidence of two Galician producers: Andrés Barbé and Julio Fernández to make MIA SARAH.
This film has surprised me very positively. In the first place, for his optimistic tone -the public goes out of the happy room-, where a healthy but not naive sense of the humor presides over all the story. Next, for his neat staging. Gustavo Ron really knows cinema; he composes the scenes with neat supreme one and great sensitivity artistic, besides achieving sequences of enormous emoticons without falling in the sentimentalism nor in the concession to the audience. Sober but stimulating, amusing and lyrical at the same time, this young filmmaker has written with Edmon Roch a screen play where it is not in excess nor a frame, with some dialogs well measured -not at all usual thing in the Spanish cinema-, misses with a soundtrack of exception and a design of production, that it becomes definite in a planning in CinemaScope where the coloring likewise has a dramatic and even symbolic sense.
Filmed in Coruña, Betanzos and London, MIA SARAH has reminiscences of the great classics, as Ernst Lubitch, Frank Capra, Leo McCarey, Gene Kelly & Stanley Donen ("Singing' in the Rain"), or of young directors, as Alfonso Cuarón ("A Little Princess"), although with the personality characteristic of his author. A Spanish filmmaker that is also brilliant in the direction of his starring, all in "state of grace"; then from the Daniel Guzmán and the Verónica Sánchez (similar to "Amélie"), up to the veteran Fernando Fernán-Gómez, nothing screeches in the shining cast.
It is for this reason that the narrative gyration and the final surprise act as MIA SARAH one of the most innovative and most daring movies of that Young Spanish Cinema of which so much we are poor for a renewal of our commercial screens. Now mistake that audience -popular and intellectual public- answers favorably to the brilliant proposal of Gustavo Ron. At the moment, note his name.
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