{"id":51096,"date":"2022-06-05T15:14:47","date_gmt":"2022-06-05T09:44:47","guid":{"rendered":"https:\/\/www.imageantra.com\/carla-simon-and-the-miracle-of-cinema-out-of-nowhere-that-has-become-the-biggest-spanish-success-of-the-year\/"},"modified":"2022-06-05T15:14:47","modified_gmt":"2022-06-05T09:44:47","slug":"carla-simon-and-the-miracle-of-cinema-out-of-nowhere-that-has-become-the-biggest-spanish-success-of-the-year","status":"publish","type":"post","link":"https:\/\/www.imageantra.com\/carla-simon-and-the-miracle-of-cinema-out-of-nowhere-that-has-become-the-biggest-spanish-success-of-the-year\/","title":{"rendered":"Carla Sim\u00f3n and the miracle of cinema “out of nowhere” that has become the biggest Spanish success of the year"},"content":{"rendered":"
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Frances Ha was forced to run everywhere in order to understand at some point who she was, Patricia L\u00f3pez Arn\u00e1iz had no other choice in ‘Ane’ than to resort to becoming a kind of police officer of life while making sure to keep his work and his head in its place and thus, a long etcetera of characters from the big or small screen have shown what seemed a vital need in fiction to have the feeling that everything moves and that the action does<\/strong>Also, with the movement of the characters.<\/p>\n

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In this usual scenario of continuous movement, fast pace and striking actions, the director and screenwriter Carla Sim\u00f3n opened a breakthrough window in 2017<\/strong> when ‘Summer 1993’ was released in theaters. A film in which she pursued a “natural” tone, as she herself explained at the time, with two girls as the main protagonists, who improvised with certain guides a script not learned beforehand and with whom the relationships between the characters were worked on from zero: cooking with them to build a real family or taking them to the park.<\/p>\n

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Works like ‘Suc de S\u00edndria’, the Goya-winning short film by Irene Moray, also slipped through there in the following years; ‘Carmen y Lola’, by Arantxa Echevarr\u00eda, or the recent ‘Libertad’, by Clara Roquet, which also share the naturalism and intense stillness of being set in a summer. Its rhythm is also very different from what we are used to, running the risk that the viewer will think at some point that “nothing is happening”.<\/p>\n

‘Alcarr\u00e0s’, true life<\/h2>\n

The movement has finally exploded in ‘Alcarr\u00e0s’, Sim\u00f3n’s second film that has ceased to belong so much to the independent circuit after winning the Golden Bear at the Bert\u00edn Festival. \u201cAuthor cinema can also be for the public\u201d, stated his producer, Mar\u00eda Zamora, after the premiere of the film in Spanish cinemas. What Zamora describes as auteur cinema is nonetheless the recent feature film that has portrayed the purest Spanish view of life no need to build big scenes or narrate fancy dialogue<\/strong>.<\/p>\n

The way of telling stories that Carla Sim\u00f3n has shown to viewers in her first two films has been based on some memories of his life<\/strong> and in what is known, certain autobiographical elements that, although they also make other productions that may form part of this particular film movement special, such as the case of ‘J\u00falia ist’, by Elena Mart\u00edn Gimeno, do not explain 100% of the that ‘Alcarr\u00e0s’ is being talked about as a \u201cmiracle\u201d of Spanish cinema.<\/strong><\/p>\n

A key part of the appeal of ‘Verano 1993’ and ‘Alcarr\u00e0s’ lies in what could be defined as ‘cinema out of nowhere’, understanding lots of scenes from non-verbal language like dialogue that doesn’t need to be explicit<\/strong> to show gestures and family dynamics that, although due to their slower tone may seem something very different from the intrepid and non-stop action of the most commercial cinema, they are small details that trigger the motivation of the characters until the final explosion of the conflict, that which in ‘Verano 1993’ it translated into Frida’s disconsolate crying in the scene that closed the film.<\/p>\n

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\"Cannes<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n

The writing and the way of capturing Carla Sim\u00f3n and her production team before the camera \u2014also adds the discussion work in the script process with Arnau Vilar\u00f3; the contribution of the director of photography Daniela Caj\u00edas, the first solo woman to win the Goya for best cinematography in 2021 for ‘Las Ni\u00f1as’; the role in the casting of Mireia Ju\u00e1rez or the staging by Ana Pfaff\u2014it comes to resemble rather document life than to invent a fiction.<\/strong><\/p>\n

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