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In Margins, an eviction drama as honest as it is poignant

There is a label to which the “reasonable” critic seems to be allergic. This is the one that says “social”. Whenever a film is presented under the umbrella of ‘social cinema’, it always receives the same attacks. They are accused of being obvious, in pamphlets, of emotional pornography… they are accused of showing something unreal. Reality as something unreal. This is the degree of social disconnection that lives under anesthesia. The one who clears his conscience by reading the newspaper with coffee and forgets everything when he reaches the page of the TV program.

Nadine LaBacque’s Refugees, Darden’s Immigrants, and Ken Loach’s Workers exist. Another thing is that many people do not want to teach. That they don’t want to feel guilty because all these filmmakers point to the system we’re complicit in. Social etiquette stings because it shows us that we have failed. Interestingly, all these directors always say the same thing: if those critics heard the real stories that inspire these films, they would be amazed, because they are much more complicated than we say. The reality is harsher and sadder.

Juan Diego Botto’s directorial debut is not ashamed of his name. This is social cinema. in capital letters. Without complexes and without fear of saying it. It is cinema that has another label that is used so much that it becomes meaningless: necessary. In the Fields is a film that enlightens us, focusing on the drama we choose to forget, the eviction. A topic that is no longer in the news and that affects more than 100 families every day. If cinema is good for anything other than entertainment, it is to show us the realities that exist, even if we prefer to ignore them.

In the Fields is an honest debut, honest, honest. They are your best weapon. Botto and Olga Rodríguez created a screenplay that collects dozens of true stories and condenses them into a film that has the heart of a thriller. An eviction drama with a countdown. The movie could be one where a bomb explodes in 24 hours. The bombshell here is the eviction of the character played by Penelope Cruz. Star descends into the mud and the neighborhood and becomes a brave mother who forgets to even take care of her child in the fight to save the house. Cruise left her skin in the film, which she not only starred in, but also produced and helped raise.

Botto intersects three stories to tell three realities, centered on the drama of eviction. The one that acts as a common thread is the one starring Luis Tosar – as perfect as ever – who travels around town against the clock to help an immigrant mother who may be losing her daughter. It is understandable why the director chooses this story as a link, since the audience shares the point of view of his stepmother’s character; Christian Cheka, who shines and should undoubtedly choose Goya as the best newcomer. The prejudices of a young man are the prejudices of society. However, this decision, which is perfect on paper, ends with the strength of the other two stories. Penelope Cruz and Adelfa Calvo have a dramatic power that makes one feel devastated by them. The same thing happens in the wonderful scene of the anti-eviction rally, where the true stories taste so true that one wants to stay to hear more.

While the entire cast shines, Adelfa Calvo’s restraint and emotion come through in the biggest moments. His last scene captures and does not let go. A scene that also shows another success on the brink, Juan Diego Boto’s decision to take a step back in directing. No shimmers or blooms. Virtual camera movements are useless here, because the main thing is these stories. The best example is the plane that stops at the door glass that prevents the inevitable from being seen. It is a decision that gives dignity to this character and his decision.

This restraint contrasts with certain highlights that could have been avoided. It was not necessary for Tosar’s son’s character to explain that he considers him a stepfather and will eventually become his father. Neither the birthday resource nor the gift he gave. These are details that come across clearly, which are not in the rest of the film, whose heart belongs to the scene that was born as the beginning of the script, a long discussion between Penelope Cruz and Juan Diego Boto, which shows the other central themes of the film, the courage of the women who are the most They become a car in bad conditions. Men on the edge fall when they take away what they’ve been told defines their masculinity, their money, their home, their partner, and that’s what they can fight to the end.

It is a film that also shows the power of community. In an individualistic world where they insist that collective struggles disappear, Juan Diego Boto declares that unification and female marriage are the only way to change the system that can drive the family out of the home. Such films often have an unconscious ability to come out at the perfect time. On the brink, it does so with the Housing Act, once again dividing the Coalition Government, which is on track to end its term without delivering a law preventing anyone from being evicted. Perhaps you should put this film in the Congress of Deputies so that even Espinoza de los Monteros can’t say that he doesn’t know any Spaniard who would be affected by social measures like the one that prevents someone from sleeping on the street.

Source: El Diario

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