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Mañana a esta hora

Concorso Cineasti del presente

Mañana a esta hora

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Father, mother and daughter. A family like many others, filmed in a static shot as they watch television. Stretched out, their bodies fill the frame, as though this is a complete portrait. Lina Rodriguez frames her characters through scenes that describe the inertia of domestic life. She chooses a short distance, heightening the narrowness of real spaces. Concentrating on moments in which action is absent, she highlights a dual movement of attraction/repulsion. On the one hand Adelaida and her parents share an intimate space, on the other the young woman is starting to show her desire for freedom. The scenes with her contemporaries – in front of their school or out in the evening – are filmed in a way that privileges the horizontal axis, as though the girl’s existence is laid out on a flat plane. This sort of phenomenology of an ordinary life is abruptly interrupted. After the re-emergence from the darkness, nothing is as it was before. Reference must be made to Kieslowski, who first used chance as a dramaturgic element; here the invasion of the unexpected gives a new depth to the characters, who after the initial shock seek to recompose their lives and deal with the missing piece. Lina Rodriguez’s writing is very precise in never giving way to pathos; she strings together scenes that serve as many antidotes to the explosion of grief, up to the last image, dedicated to the clouds that arrive like a long-awaited breath of air.

Carlo Chatrian

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