28.8 C
New York
Wednesday, July 6, 2022

‘We will not kill each other with pistols’: the generational failure of crisis Spain

- Advertisement -
- Advertisement -

In one of the dialogues We will not kill each other with guns, a chronicle of generations by the Catalan director María Ripoll, a worker sells a raffle in solidarity with one of the protagonists in their 30s at a street festival to mark the closure of the city’s factory. The young woman, not quite so young anymore and over-the-top, just jumps around the track and while the man tries to convince her, her friend quits the job with a pragmatism that is as timely as it is horrific about her friend’s cocaine addiction: “Look, so you already have paper for the bullshit.”

We won’t kill each other with guns A film that ranks among Ripoll’s best filmographies with its flashes, it’s part of that wonderful subgenre of old friends reuniting when the first bald spots appear on Peterpanime. Peter’s friends by Kenneth Branagh and most notably the Great ten years earlier The Big Chill (Reunion), by Lawrence Kasdan, brought to the table a new form of family drama in which consanguinity was determined by the university or college classroom. As in The great cold in We won’t kill each other with guns There’s an elephant in the room: the absence of one of the pillars of the group of friends who now choose to meet again. An absence whose presence silences the relationships eroded by the passage of time and the disillusionment of a generation faced with the perpetual economic crisis marked by a lack of expectations.

Actresses Ingrid García Jonsson, Elena Martin and Lorena López, and actors Joe Manjón and Carlos Troya make up the group of friends who answer the call of one of them (García Jonsson) to celebrate an unexpected event at her grandmother’s abandoned house in town .meet in packed local festivals. The paella that García Jonsson is keen to prepare for his friends, an actress who, along with Elena Martin, stands out for her portrait of a perfectionist woman determined to hide her vital fiasco, represents this need for community (which is described in the Post -Covid era ), mixed with the search for a lost identity by going back to basics. That is, to a four-street city where only the graffiti of those who have lost their jobs remain and, whoever falls, every summer’s festival.

It’s a pity that the crowning glory of the party, this equally disconcerting and liberating goal with tiring electro pop and sweat-inducing euphoria, doesn’t find its own way beyond the seemingly omnipresent beer advertisements is spoken by the Spanish youth. Without the power of that final catharsis, the film loses its grip. But Ripoll is right about the tragicomic tone, about the emotional value of the old house and its importance, and about a story that mixes two words so common among Spanish youth: party and failure.


Address: Maria Ripoll.

Interpreter: Ingrid García Jonsson, Elena Martin, Joe Manjón, Lorena López, Carlos Troya, Carlos Gorbe.

Gender: Theatre. Spain, 2022.

Duration: 88 minutes.

Premiere: June 17.

All the culture that suits you awaits you here.

Subscribe to

reduced by 50 percent

Exclusive content for subscribers

read without limits

Source elpais.com

- Advertisement -

New Articles