‘The letters of george’ is the opera prima of Maider Fernandez Iriarte. This documentary revolves around the figure of Jordi, a man of 51 years suffering from cerebral palsy. Through a small cardboard with letters and numbers, the protagonist and the filmmaker engaged in a dialogue that represents the backbone of the film.
The first minutes are marked by the mystery. The fingers of Jordi rummaging through the symbols of the carton provide curiosity to your around. The plane detail and the interview of a fund presented to your protagonist taken away from the prejudices born of their appearance. On this occasion, the use of the fixed camera enriches the dramatic tension while maintaining focus on the interview. Who is Jordi? This is the question that appears to contemplate their fingers on the board for several minutes until it culminated with his revelation. This segment can be without a doubt the most brilliant of the documentary, but also the only one.
What starts out as a cinematic technique of interest is twisted into a resource repetitive and tiring. The interviews Fernández Iriarte drag on aimlessly with the fixed plane, enclosing the viewer in everyday scenes devoid of content. Instead of reducing the times in mounting, the camera follows without delving into anything trusting that the curiosity is enough. It is difficult to know if this technique is carried out to achieve a “paralysis” that comes close to the perspective of Jordi, or if it is a method of tinker to reach the hour and ten minute duration of a feature film.
Nothing to say
The curiosity aroused by the figure of Jordi is detailed during the development. His past and origins of their illness get lost in a story devoid of reason. Despite the fact that the synopsis mentions the pilgrimage to Lourdes, this topic is discussed in a superficial way and in a hurry. To this treatment is insipid about religion are added to the lack of explanation on the biblical story that presents itself, and such an aspect assumes a bewilderment that makes his spirituality something contrived and ridiculed by the composition of scenes.
The little game of the plot of Lourdes and religiosity are forced to Fernández Iriarte choose the friendship between an interviewer and his subject as a focal point during the second half. While the relationship of george with his parents is passed on in a seen and not seen, the director decides to become a part of your work. Proving lack of content, Fernández Iriarte let the smooth words that Jordi dedicates are ahead of other potential moments of interest in her life. This self-centeredness reminds the character of other documentary makers, who imposed their name on their content, as is the case of Michael Moore.
‘The letters of Jordi’ is a documentary that aspires to be tear without working on your story. Scenes stretched out to the impossible, the banality of their everyday lives and to the input of the director as part of his work reflect the little development of their work. The story of Jordi invites the consideration, though the technique of Maider Fernandez Iriarte only leave behind a film boring and sensationalistic.
The best: Your principle.
The worst: The duration of their scenes and their content.