La Spagnola (Cert 15)

By ALEXANDER WALKER, Evening 基準

A Porcine husband running out on his wife. The wife bawling with 激怒（する） and throwing herself over the bonnet of his 逃亡 car.

Family meals after the breakout with the ぎこちない 14-year-old daughter seeing the backyard animals her absentee dad 後部d going one by one into the casserole マリファナ. And mother and daughter losing no chance for taking 誇張するd, comic vengeance on the blonde mistress who 破産した／（警察が）手入れする up the 世帯.

All of this orchestrated with the tinny triumphalism of a town 禁止（する）d. I thought I was 支援する in one of those matriarchal Italian movies of the 1950s, where Gina or Sophia hung their husband (usually Marcello) out to 乾燥した，日照りの with the washing on the 着せる／賦与するs lines across Naples streets and the 最新の Cinecitta moppet made 注目する，もくろむs at the camera until a handsome ragazzo made 注目する，もくろむs at her.

Instead, we were in Australia, in the 1960s, with a Spanish-Italian 移民，移住（する） family living on the 辛勝する／優位 of an oil 精油所 and keeping old ways, old 儀式s and old 反目，不和s alive at the 最高の，を越す of their 発言する／表明するs.

Screenwriter Anna Maria Monticelli was 明白に the timid girl in the film whose only overt gesture of 反乱 is a 国粋主義者／ファシスト党員 salute at her parents' 支援する. Now she draws on her anecdotal memories of life with her fiery-tempered Spanish mother, "La Spagnola? (Lola Marceli), a woman who could fell a bull in the （犯罪の）一味 with one 井戸／弁護士席-directed glare.

Director Steve Jacobs (the screenwriter's husband) - or his カメラマン Steve Arnold - has a keen 注目する，もくろむ for striking compositions, and the sparse prefab look of the boxy little house against the silver towers of the 精油所伝えるs the microcosmic world of 移民，移住（する）s in, but not yet part of, Australia.

The 対話 is English, Spanish and Italian. Occasionally there's a surrealist tingle, quirky and 簡潔な／要約する, usually someone's waking 明言する／公表する when the 血圧力's low and imagination takes over from indignation.

A 砂じん嵐 rises and 落ちるs like tempers; passions are orchestrated like a 猛烈な／残忍な ballet; the houseproud mum 削減（する）s the new （土地などの）細長い一片 of 床に打ち倒す linoleum with the relish of someone 削除するing an unfaithful spouse's throat (or other parts).

Men are hungry for sex and the dusky-chinned 勝利者 of a lamb carcass at a raffle cedes it to

"La Spagnola" if she'll let him 料金d off her 団体／死体 instead.

The most striking moment is the simplest - mother and daughter 再会させるd after an absence of years, their 団体／死体 language doing all the speaking now, showing how the insecure child 会合，会うs her scolding mama as an 独立した・無所属 woman.

さもなければ, the 全体にわたる影響 is like Jane Campion on 速度(を上げる）.

Click below for more reviews of this film