Bollain seems to have found its place in film : Director with a letter, child actress - Southern (1983) - and occasional writer, a creator whose experience and interests SUV's are among the best qualified to pull the English cinema of the expected decline and misuse technical theme (is shot in 3D) which will Torrente 4 (2011). His sentimental and artistic association with Paul Laverty - one of the best current British writer and regular contributor to Ken Loach - has allowed direct a film based on a material much better job than his other scripts written in collaboration : Flowers From Another World (1999), Take My eyes (2003), Mataharis (2007). rain also (2010) could have been the new Loach film, but this detail is irrelevant, since Bollain has directed with the same style between passionate, lucid and disenchanted with his beloved mentor , which met while filming Land and Freedom (1995). The difference is that Once the topic - the English looting of America in the fifteenth century and the multinationals in the XXI - is much closer to the Hispanic audience than the usual conflicts and political dramas of the Anglo-Saxon history.
The film contrasts the shooting of a film about the looting / English genocide of the colonies recently discovered by Columbus - it was time that the film openly speak English of this issue - with the desperate struggle of a group of neighbors (which also involved as extras on the set) by the rising price of water because of the privatization supply. The mixture of both stories can present different degrees (false) commitment that we tend to exhibit when faced with situations that make us well aware of the gap we have with much of the world around us, with our selfishness and our double moral about what we mean by activism and involvement in the fight against injustice and inequalities that contribute to perpetuate .
Nothing missing in this review is already known to regulars Loach film, without going any further, the scene of the popular assembly, based on that which appears in The Wind That Shakes the Barley (2006 ) or the same Land and Freedom , or the portrait of a world unable to improve due to the sum of our individual selfishness , that stand like a wall when things threaten to get involved too much. In tandem there Bollain / Laverty must recognize that fall into the trap of Manichaeism, but the same characters altruistic moments alternate with other selfish lucidly, without which we can draw simplistic conclusions . The best example: the tears that spilled the film's director (Gael Garcia Bernal) to read some passages from his script on the denunciation of slavery de facto applied by the Crown of Spain contrasts with their blindness to the human drama unfolding before their eyes.
So we Westerners: us a shoot just three weeks in an exotic location , a roll with a hotel maid, learn four little words of their language, make bombastic statements for the making of and go home boasting of militancy and modified after leaving for good experience. The paradox is that neither team Bollain not escape the curse of that solidarity without consequences reported. The farewell scene between the producer (great Luis Tosar) and the interpreter and leader of the revolt (Juan Carlos Aduviri) perfectly sums up the double standard presides over the opaque conglomerate formed by NGOs, business initiatives and anti-globalization militant leftism recycled: one knows that, despite its humanitarian gesture, do not think certainly involved in a fair fight, but can not help but feel moved by the fate of Hatuey, who stays there - as he himself admits - "surviving." Bollain and others have made his film, presented in festivals where cocktails are served, and meanwhile, remain in their country Aduviri, scraping by on the embers of the reputation that earned him a shoot abroad. Perhaps the only possible attitude is that of the character of Karra Elejalde, openly selfish, but able to awaken from its slumber enolizado to decide that, if things are bad given, must face certain risks . And by the way, offer a little alcohol to the detainees.
The film is worth the sincerity beating hard after exposure of acts and motives: the world can not be changed and it is unlikely that people like us so moved by altruism (lucid or naive, given both .) Making a film denouncing it is something little that can be done to alleviate the impotence of this bitter truth.
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