Sara Mesa wrote a story about this in “Un amor.” towards our monsters. Uprooting, fear, guilt about the past, the right to make mistakes, doubt, rape culture, anxiety, and love that is “real” (and that the viewer must guess) are just a few of the themes. What went through the work that Isabel Coixet is currently filming. The inside of a broken woman for whom the reader does not know a defined past, the inside of a woman who has no expectations other than continuing to survive despite the backpack she carries. She is not a flashy girl who decides to go to the countryside to experience and learn about the apathy that permeates work; She is a broken person in search of herself, and the rural setting here is a “literary place”, a place that speaks and is counted as much as a voice. This place in Un amor is natural and wild but closed and stifling, harsh and violent.
Coixet adapted the book faithfully, except for some characters who, due to space and time, “turn” in their roles to highlight aspects of the cinematographic narrative that he wishes to change in a way that changes Nat’s psyche (Laia Costa) stay as instinctive as possible. And he understands. In order to bring to the screen a novel that is not told in the first person and clearly talks about the thoughts and evolution of the protagonist, a director like Coixet, who is an expert in symbolic levels and extremely detailed in photography, costumes and music, was needed. These are its common points. In Coixet’s works, you see and know Nat with a Pizarnik-esque aesthetic (those coats and sweaters, with messy hair…) in a house that is just another character, like in horror movies: a chipped, leaky house that is about to collapse. .
“A love” is not a comfortable or enjoyable read., should be read from within its main character, not through the prism of realism, while the rest (characters, places, and situations) are a ploy to explain the feeling of the ending and the reason for the short title. Nat is not there to be judged, but to be seen and read, just as sometimes we don’t know how to read ourselves; This is the spirit of the book (though necessary, sometimes very unpleasant). There is no excuse to tell her story with Andreas either. (Hovik Keuchkerian) nor Píter (Hugo Silva), these are also part of the decoration. By centering Nat, Coixet eventually manages to turn him into many people.
I hope all “Nats” do the same in this last sequence to overcome violence, fears, paralysis, insecurity… If Sara Mesa’s “Un amor” makes you rebel, Isabel Coixet has managed to turn her movie into something that happens to her. You need to remain in the form of a final sequence that is as hopeful as it is described well above. A very faithful adaptation to the book.
Source: Informacion
Barbara Dickson is a seasoned writer for “Social Bites”. She keeps readers informed on the latest news and trends, providing in-depth coverage and analysis on a variety of topics.