The Quinqui always cost him to be someone.
It was rather a threat and a promise.
He endangers the stable world, but at the same time announced the adventure fever.
If you want, the Extraradio Hero who populated the years of the transition of pulls, rumbas and cars 1430 still retains an unstable ontological status;
It is not known very well if he is a payo or gypsy;
He appears in the limit space of the difference, on the margins of the consumer society that he longs and wishes as much as despise.
The territory of him is the Western.
The San Sebastián festival was well closer to its edition 69 with the laws of the border, an adaptation of Daniel Monzón from the novel Tardoquinqui or Posquinqui de Javier fences and, suddenly, everything was filled with doubts, of nostalgia and the certainty
Maybe of what could be and was not.
Far from copying the Forms of Eloy’s Film of the Church, José Antonio de la Loma or Carlos Saura even the proposal from which it was Director of Cell 211 is raised from Readney and Memory.
It is not as much mannerism as a poisoned memory or still unlocked.
Also she, in some way, is historical memory and is there to draw the law of a border that does not just disappear.
Indeed, we tell us the Zarco, the Tere and the Gafitas (those who give life with Elight and Talent Chechu Salgado, Begoña Vargas and Marcos Ruiz) The poor of now, why not, are those before.
Moreover, they are always the same.
It says monsoon that the film ends right in the last summer before the heroine ended everything.
He adds that his idea was to move the same fear and the same fascination that he himself felt when he looked from the window of the house to the descampado in front of him;
That space of anyone who was also the earth yet to conquer, the place of simple freedom.
The result is a beautiful movie built on the debris of an essentially sad love story (like all);
A new look at that old romance;
A new identity for which he never had neither DNI.
