I’ve seen an indie film for the same reason almost everyone watches an indie film: a friend is out. My friend was, before being a friend, an actress in a short that I directed. I saw her without knowing anything else. If I dedicate a column to it, it’s not out of friendship (in fact, friendship is the reason why I usually don’t talk about new series, for fear of not being objective), but because of the pleasant surprise it has brought. For this reason, and because on Friday it premiered in filming. ramona (that’s the name of the movie) is a time capsule. It’s a movie from the time when movies were about nothing, they didn’t tell anything important, and they talked about ordinary people. What Everything is a lie (the debut of Fernández Armero) or the forgotten Looking for a kiss at midnight. It also has the technical austerity of cinema low cost in which so many of us took refuge in those famished early years of the last decade.
The characters couldn’t be more unsympathetic: a lovesick director (excellent Bruno Lastra) and a thirty-something woman who wants to be an actress (Lourdes Hernández) but not much either. They are (precisely) united by a filming that, if real, would generate one of those films that premiered under the covers at the Luchana Cinemas (that cemetery of films outside the market) and that only the most adventurous spectators saw.
From ramona I like everything: the script, the direction, the actors, the photography, the sound, the editing. Everything seems simple, elegant, and beautiful. This year it has also been released I’m going to have a good time, which has these same virtues. Watching movies that just want to be movies (and not pamphlets, advertisements) gives me the same feeling I had taking off my mask on the street: it was nice to take a deep breath again. And my friend, by the way, is called Rocío Cela.
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