Before the epidemic, rural life seemed doomed to extinction. However, after the curfew a reverse migration from cities to suburban towns or countryside, a process seen in Spanish cinema through a series of fictions that affirm a lifestyle change that takes us from the urban to the ecological.
in that list Mikel Gurrea’s first feature film ‘Suro’, Presented in the official section of the San Sebastian Festival. A young couple decides to move to Ampurdà to take charge of the cork oak land that Helena (Vicky Luengo) inherited.A plan perfectly connected with the principles of Iván (Pol Lopez). Thus, two architects working in a kind of cooperative will have entered the mushroom business, which continues to be collected with traditional methods. He will hire a team to do the job and try to learn the trade by joining them, something that will raise some doubts.
In this case, there will be a change of scenery. explosive for revealing differences in the couple. If they seem coordinated in everything at the beginning of the movie, as the story progresses, they will encounter, deep down, insurmountable problems related to opposing positions in life.
The conflict between different visions is also present in ‘As Bestas’. Rodrigo Sorogoyen, in this case, it is represented by a French couple coming to a town in Galicia to renovate houses and plant ecological products, and by local residents who want to sell their land to a wind company. Here, a return to the countryside will turn into a nightmare. a disturbing catalog of threats that will result in siege and aggression. ‘As Bestas’ speaks of belonging to the filtered earth. i hate strangersomething also found in ‘Suro’ with the introduction of immigration.
Inside ‘You should come to see him’ conflicts are less turbulent but the same dilemma arises after the pandemic, replace the hostility of the city with the tranquility of the countryside. With the establishment of telecommuting, a couple (founded by Irene Escolar and Francesco Carril) decide to move to a town outside Madrid, while their best friends (Itsaso Arana and Vito Sanz) don’t understand this decision and they will become self-conscious. their situation in a world that seems to crumble around them.
However, it continues to be the most representative film of this year in this trend. ‘Alcarrà s’, carla simonde-pastoralized, radiography of an entirely different realitythat is, the end of a way of life. Thus, the Solé family, who have been cultivating a plot full of peach trees for several generations, will have to abandon the land as the landowners sell the land back to wind farms. Sorogoyen to this same conflict incomeSimon bets on naturalismFor expressing the work in the field from the perspectives of different characters, from the patriarch grandfather who sadly sees that everything he built around him has disappeared, to the children who are much more sensitive to changes. self-denying father.
Back to the essences, there are other movies that are just as interesting. ‘Duo’ by Meritxell Colell, this somehow saves the main motif of ‘Con el viento’. The hero reconnected with his own identity when he returned to his home in Burgos with his elderly mother. ‘Dúo’ was conceived as a journey through the lost towns of the Andes mountain range, and somehow, contact with essences will trigger a new process of inner searching.
Also, the character played by Laia Costa in ‘Cinco Lobitos’ takes refuge in her family’s house in Vizcaya. In order not to face postpartum depression alone and in El agua by Elena López Riera, she takes the concept of the countryside a step further, because in this case it’s not a trip from the city to the countryside or vice versa, but it depends on the local, the accents of the place, the people, the legends, It’s about betting on your traditions. And from this almost aesthetic belief, other scenarios can be discovered that Spanish cinema has missed for so long.
Source: Informacion
