The last few years, we have seen how women have made a name for themselves ever more pronounced in the panorama of Spanish cinema. Filmmakers such as Arantxa Echevarría, Carla Simon or Leticia Dolera are examples of the cinema of the homeland is changing and is opening up to authors with a lot of talent and great ideas. One of these authors that, in contrast to the above-mentioned, with many years of experience within the industry is Gracia Querejeta. The director of ‘Seven tables of French billiard’ is a women’s most characteristic and remarkable of the Spanish industry. Now back to the big screen after ‘crime Wave’ with a tape very personal: ‘Invisible’.
The tape tells the story of three women, Elsa, Julia and Amelia. The three friends decide to be every Thursday for his walks morning before starting their respective days. They are very different and have distinct lifetimes, but those walks will help them to get to know more each other, venting about their problems and fears and discuss the situation in which they find themselves the women like them in the society. With these schedules, the friends will discover the nature of the friendship at an age where they feel invisible to the rest of the world.
Original and industrial
One of the things that has surprised me most (and liked) the ‘Invisible’ is your proposal structural, as original as successful. Original, because very few times have we seen a story like this told by way of daily. I feel that this narrative method makes not get to know these women, but it is still a very brave and risky: To portray the lives of normal, ordinary equally domestic: through those walks in the park, of those hangout with friends in which are exchanged the gossip and news of their lives. The film wants to make us partakers of his situation, that we should be as a more of these hangout. And that I find beautiful. A way beautiful of structuring a film so natural and real.
Querejeta does not stop there. With ‘Invisible’, the director makes a portrait interesting and accurate about the concerns and problems of these women over the age of fifty years. This is worth noting because I barely remember a Spanish film that has portrayed this social group in such a natural way. The glass ceiling, love, sex, work, marriage, and friendship are just some of the issues that the movie vindicates the role and the site of these women “invisible” in the Spanish society. Don’t want to be more than what it is: ‘Invisible’ is a film that knows its nature. It is simple and has no great pretensions. It is natural to like these characters, as their problems and their struggle against the society that the leaves on one side.
A story with lights and shadows
I love that the script will put us to study three women so different from each other: one of them, handed over for complete the work and no time for love; one of them married and with a job that before he was very passionate about and now hates; and finally, a particular Bridget Jones, who remains committed to finding true love. Through their confrontations, we will find the point in which they are in their lives, their disappointments, and you end up claiming your place, in a way so wise as fair. It is wonderful the way that the director give us a few characters so natural, so real life, so vibrant.
However, not all is idyllic in this text, signed by Querejeta and Antonio Mercero. I think that in some moments force the dialogue and the situations too. It is clear that he wants to count everything that you can in a limited time, but it would have been good to leave to rest to the stars and be carried away by the silencebut it has not been. The audience wants to know these characters, but not through a dialogue that, at times, do not lead to any site.
‘Invisible’ behind their three actresses actors: Emma Suárez, Nathalie Poza and Adriana Ozores. Practically all the footage are these three, and how well you feel to the film. They are all great interpreters of Spanish who are doing a great job with their characters. Like these, each one achieves an interpretation very different to that of their colleagues, Suárez makes an interpretation contained in this business woman without feelings, while Ozores ends with a work, something more radical and pessimistic that manages to express exceptionally well for the unfulfilled desires and the hopelessness of his character: the teacher of institute tired of your job and your students. Nathalie Poza ends up being the most natural of the three, in a role calm and, to my taste, the more real, which demonstrates the tremendous versatility of the actress.
In conclusion, ‘Invisible’ is a film that condenses a great message and a great story in just 80 minutes of footage. Gracia Querejeta is the marginalization of the adult woman in a way tremendously realistic and natural, thanks, in good measure, to their narrative structure as original as colorful. Demands, with a background sad and heartbreaking about the passing of time and maturity, and with a indent of the imperfect is in a way very correct to its three protagonists. The trio of actresses formed by Suárez, Ozores and Pool is glorious, with interpretations as varied and distinct as their own characters. It is often said that the best perfumes are sold in small jars. And this movie is a good proof of this.
The best: Their protest portrait of the situation of women
The worst: His dialogues, something forced.