Solas (Cert 15)

by ALEXANDER WALKER, Evening 基準

Any film that 勝利，勝つs 14 prizes - 特に 悪名高くも soft touches like Audience or Ecumenical 陪審／陪審員団 Award - must be approached with 警告を与える.

Fortunately, Benito Zambrano's low-重要な story of Spanish working-class folk living lives of 静かな desperation stands 査察, and rewards it.

Ana Fern?ndez is a thirtysomething きれいにする woman with not much going for her: 妊娠している by a pig of a トラックで運ぶ driver, she has a tyrannical father in 外科 and a tippling habit that may yet make an アル中患者 of her.

Then her mother (Maria Galiana) comes in from the country to stop over in the walk-up apartment, and the placid old lady opens doors - 特に upstairs, where a lonely old man (Carlos Alvarez Novoa) grows 大（公）使館員d to her, and the inner strength (1)偽造する／(2)徐々に進むd by their platonic 関係 furnishes the daughter with a new beginning.

It all sounds ennobling - and Solas, in its final scenes, has a touch of the goody-goodies. For the most part, though, it's truthful and 吸収するing.

Zambrano creates 業績／成果s of utter naturalism, gives them breathing space, 避けるs miserabilism and fills the film with honesty.

The cruelties of age aren't glossed over, but become 解決するd by 存在 受託するd.

The way that the 地位，任命する-フランス系カナダ人 history of Spain has opened a temperamental divide between a mother long 慣れさせるd to stoic 生き残り and a daughter impatiently 失望させるd by her lowly status 供給するs a solid subtext that 容赦s the 時折の sentimentality.

Above all, there's Maria Galiana. She belongs to the 広大な／多数の／重要な European tradition of film 事実上の／代理. You read her character's mind in her 直面する and 団体／死体. Yes, (most of) the prizes Solas has won seem deserved.

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