Natalia (Ingrid Garcia-Johnsson) and Carlos (Carlos Rodriguez) are a young couple, flat broke, unemployed, unskilled, and hopelessly in love. Carlos finds low paid work where he can whilst caring for his invalid mother. Natalia lives with her brother and over-stressed mother and occupies her days with job-hunting and petty theft. When Natalia falls pregnant, they are both forced to re-examine their already limited options.
The impact of the economic crisis is a common theme in contemporary Spanish cinema, and this gritty rendition does the theme justice. It’s low budget, but for the most part, tastefully executed in naturalistic style, thanks in no small part to the sensitive and restrained cinematography of Pau Esteve Birba and the strong performances of Garcia-Johnsson and Rodriguez, who manage to shine despite fairly bland characters. The first half-hour of the film is promising indie-filmmaking.
Until the first of two terribly executed montages comprised of a series of still photographs, text messages and computer game sequences. The images are not only ugly, but they fly by at a speed which makes it impossible to even see, let alone synthesize meaning from. Awkwardly accompanied only by the irritating sound of digital camera clicks and text alerts, these sequences sit at odds with the style of the rest of the film and serve only to disengage the viewer.
The technique of integrating social media into film may have been edgy 10 years ago, but is now so commonplace that such elements really need a story driven motivation to justify their use, without which, they just look tacky. However, it isn’t just the aesthetic that is infuriating – it’s the fact that the most interesting points of tension are conveyed poorly in these montages: the breakdown of Natalia and Carlos’ relationship during Natalia’s pregnancy, and Natalia’s journey to start a new life in Germany. It’s a superficial way to tell complex stories, and it points to a kind of cowardice in the writing, in avoiding delving into emotional affairs.
The film continues downhill from there. We are constantly teased by the promise of something exciting happening, and interesting things do happen, but somehow, there are no consequences for any of the antagonisms they face, and hence, very little drama. They make a porn film – they get paid and move on. Natalia shoplifts frequently – nothing eventuates from it. Carlos gets attacked and lands in hospital – he expects a compensation payout but nothing comes of it. So he assaults his attacker. Nothing comes of that either. In fact, the biggest antagonisor, Natalia’s pregnancy, only initiates some action at the very end of the film when Natalia finally decides to move to Germany to look for work, by which point the mind-numbing inertia with which the characters float through life may have rendered you more than a little blasé as to their fate.
Despite all the flaws, director Jamie Rosales has manage to capture a remarkable authenticity to the listless beautiful youth of Spain amidst the crippling economic slump. It is rough and raw, and all the while the feeling of suppressed aggression simmers underneath a malaise that is relatable to all the beautiful youth around the world. If you enter with low expectations, you might find this enough to like about this film.
Rating: 2.5 out of 5 stars
Beautiful Youth in Ugly Times
Director: Jaime Rosales
Spain, 2014
Spanish with English subtitles
Drama, 100 minutes
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