El Planeta tracks soon-to-be evicted mother-daughter grifters, María Rendueles and Leonor (or Leo) Jimenez, in the aftermath of the 2008-2014 Spanish financial crisis. Based on real life mother-daughter scammers, Justina and Ana Belén (Las Falsas Ricas de Gijón), who swindled up to 6000 euros in restaurants and establishments in Gijón.
María and Leo follow a similar trajectory in the picaresque film, often finding replenishment in each other's company in an otherwise starved world. Many scenes present portraits of idle time. Shots are often stationary, long and wide with few closeups, reminiscent of Claire Denis, tinged with the domestic intimacies of Hong Sang-soo, and Jim Jarmusch's unhurried, deadpan black and white early work. Enveloped by the vast oceanic landscapes of the bored port of Gijón, Ulman's hometown, the city's dead-endedness evokes the silent desperation of Peter Bogdanovich's The Last Picture Show (1971). The city is desolate, almost entirely populated by eldery people, with most of its businesses permanently closed and shrouded in for sale signs, wood, and graffiti. The world is built entirely around money, all María and Leo can inevitably do is wait for the government to figure out they don't have it and later be escorted to society's exit. Still, the two choose to retain some agency and personal sense of dignity as they opt to exit well-dressed and freshly manicured by controlling the last thing they have left, their bodies.
María and Leo follow a similar trajectory in the picaresque film, often finding replenishment in each other's company in an otherwise starved world. Many scenes present portraits of idle time. Shots are often stationary, long and wide with few closeups, reminiscent of Claire Denis, tinged with the domestic intimacies of Hong Sang-soo, and Jim Jarmusch's unhurried, deadpan black and white early work. Enveloped by the vast oceanic landscapes of the bored port of Gijón, Ulman's hometown, the city's dead-endedness evokes the silent desperation of Peter Bogdanovich's The Last Picture Show (1971). The city is desolate, almost entirely populated by eldery people, with most of its businesses permanently closed and shrouded in for sale signs, wood, and graffiti. The world is built entirely around money, all María and Leo can inevitably do is wait for the government to figure out they don't have it and later be escorted to society's exit. Still, the two choose to retain some agency and personal sense of dignity as they opt to exit well-dressed and freshly manicured by controlling the last thing they have left, their bodies.
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