Fin de fiesta

Watched this movie at the Bengaluru International Film Festival (BIFFES).

A Spanish film about an undocumented African immigrant who gets trapped in a wealthy woman's house.

While the story isn't extraordinary, the film keeps you engaged from start to finish without a single dull moment. It even manages to be humorous in places, making for an enjoyable watch. The performances are strong, and the screenplay flows effortlessly, keeping the tension alive. The way it balances drama and comedy makes it a unique experience. By the time it ended, the entire audience was clapping loudly, a testament to how well it connected with viewers!

A worthy sentiment is transformed into a delightful and intense piece, beautifully shot and tightly directed. There shades of Joseph Losey's 'The Servant', but the focus is different; Sonia Barba as the deliciously wicked senora de la casa steals the show, despite her selfishness being eventually thwarted. Spain has always been able to produce movies with eccentric characters that are marvellously compelling; this is the best of the current crop. Lupe, the maid, transforms from a dreary drudge to the moral centre of the movie, while the extraordinary Edith Martinez-Val effects extraordinary prestidigitations in her deeply charming performance. A lush, hot world is powerfully created and the feminist politics, if that is what they are, are entirely convincing even to the most unrepentant gammon.

I heard the director say in a Q&A that the film starts like a Kean Loach film and ends like a Gaspar Noé film. That's a very apt description because indeed the film takes you into territory you could never have imagined. It also does it in a subtle way, bit by bit. The lady of the house, masterfully played by Sonia Barba, envelops us in her madness, her lies and her personal world. The interesting thing about the film is that this character, who in principle could be detestable because of the abuse and emotional blackmail to which she subjects the emigrant and her maid, makes us uncomfortable, but also not amusing and provokes a certain tenderness, because she is a misplaced being, almost on the verge of extinction, and because she is deeply selfish and is not aware of where the limits are because she has never had anyone to stop her feet. His greatest sin is that he never sees the other.

It is very difficult to be funny when dealing with a serious subject, and with rigor. Director Manrique knows very well how to manipulate the audience and in the mixture of absurd and harsh situations comedy rises but also drama, because somehow this is what also happens in real life: Even in the most difficult moments a spark of comedy can ignite. Director leaves us with a cold smile wondering, why am I laughing at this?