Catalan director Dani de la Orden makes his feature debut with Hand Test, a darkly comic drama that pulls the audience into its satire and prompts a reflection on personal values. The central moral puzzle asks a stark question: take 100,000 euros today or wait ten years for a million. The experiment unites two couples whose fortunes diverge, Blanca Suárez and Albert Soret exemplify professional success and wealth, while Look Ibárruri and Carlos Santos grapple with less favorable outcomes. The game begins with high stakes and sharper questions about power and choice.
De la Orden explains that the premise, adapted from a stage play by Jordi Vallejo, offers a lens on capitalist society and the neoliberal world many navigate. It invites a conversation about how the system can pull people toward compromises, even when ideals remain intact. The director recalls another project on the release slate, 42 Seconds, a drama inspired by true events about the Spanish water polo team’s journey in the Barcelona Olympics, featuring Álvaro Cervantes and Jaime Lorente.
The pandemic era has surfaced paradoxes that touch the industry, and De la Orden acknowledges the personal impact. A film released just before the lockdown faced schedule shifts, and the industry has contended with such coincidences since. He notes that two very different films can share the same week and still attract distinct audiences. A comedy, a sports drama, and a movie led by a singular director arrived concurrently, each appealing to different tastes and moods.
The idea of success or failure at the box office threads through the movie’s core. The exam embedded in the story interrogates how economic power relates to achievement. The filmmaker expresses curiosity about the true nature of success, arguing that it should be measured by inner growth, professional fulfillment, and personal satisfaction rather than sheer output. Personal moments of strain and resilience often accompany peak professional performance, a notion that informs the film’s uneasy humor and observational tone.
Last year did not appear especially forgiving for Spanish comedies, with Padre no hay más que uno 3 by Santiago Segura among the notable exceptions. Ortega, recognized for his craft, believes a film resonates when it forms a bridge with the audience. He quotes a belief that where there is laughter, there is hope. The most revealing scenes dissect the characters’ façades, exposing their vulnerabilities and the power dynamics at play. As the plot unfolds, the audience discovers that other, deeper currents are moving beneath the obvious competition of the game, guiding the narrative toward broader social commentary.
The director has a reputation for reworking familiar formats, and this time Hand Test presents an original script by Vallejo, who adapted his own play for the screen. Changes were necessary to preserve the humor’s effectiveness in a cinematic setting, drawing on lessons learned from prior work and the differences between stage and screen. The cast forms a standout ensemble, described as versatile and expressive: Carlos Santos registers as a versatile performer, Albert Estévez embodies natural charisma, Blanca Suárez delivers a dynamic, almost explosive presence, and Look Ibárruri complements the group with a poised and magnetic energy. Their collaboration is highlighted as a key strength of the project, reflecting a balance of sharp wit and emotional depth that anchors the film’s provocative premise.