THE AUGUST VIRGIN: in search of reinvention

Itsaso Arana in THE AUGUST VIRGIN. Photo courtesy of Outsider Pictures.

In the lovely and genuine The August Virgin, 33 year-old Eva (Itsaso Arana) is between relationships, not defined by any career success, and her biological clock is ticking. She knows it’s time for a reset. In August, Eva borrows an acquaintance’s apartment in another Madrid neighborhood and sets off on a series of strolls, in search of possibilities as yet unknown.

Many madrileños escape the city’s oppressive heat for the month of August. But Madrid is still filled with street festivals and tourists. Eva meanders around town, encountering old friends and making new ones. As Eva notes, in Madrid’s August, expectations are relaxed.

Eva is purposeful about shaking things up, but she has no plan other than to be open to the possibilities. That openness, with its fluidity and randomness, leads her to her moment of reinvention.

Eva is played by the film’s co-writer, Itsaso Arana. What’s so singular about Arana’s performance is that her Eva, as dissatisfied as she is with her current situation, is always comfortable in her own skin. She’s never desperate or needy (except when trying to negotiate a reluctant door lock) and always confident enough to engage with a stranger. At one point, the Spanish pop star Soleá sings, “I’ve still got time. I’m still here.”

THE AUGUST VIRGIN. Photo courtesy of Outsider Pictures.

The August Virgin’s other co-writer is director Jonás Trueba, and this is his sixth feature. I recently watched his next most recent film The Reconquest (La Reconquista) on Netflix, and it’s another intensely personal and genuine story, about two 30-year-olds reconnecting 15 years after a teen crush. Jonás Trueba is the son of Oscar-winning director Fernando Trueba (Belle Epoque, Chico & Rita).

Several critics have seen Trueba’s work as an homage to French New Wave filmmaker Éric Rohmer, but I found The August Virgin, with Eva’s serial conversations (real, probing conversations), reminded me of the more accessible work of Richard Linklater.

Madrid itself is on display here, with its searing daytime sun, and the liveliness of the streets, tapas bars and after-hours clubs when the sun goes down.

Trueba and Arana allow Eva her process, and she samples one experience after another, seemingly with the faith that one of them will lead her to where she wants to be. This is not a film for the impatient, but I found its two hours enchanting.

The August Virgin is on my list of Best Movies of 2020 – So Far and will be available to stream beginning Friday, August 21 on Virtual Cinemas, like San Rafael’s Rafael or Laemmle’s in LA.

PAIN AND GLORY: achingly personal

Antonio Banderas in PAIN AND GLORY

In his Pain and Glory, master filmmaker Pedro Almodovar invites us into the most personal aspects of his own life, illuminated by Antonio Banderas’ career-topping performance. Almodovar calls Pain and Glory “auto-fiction”, and Banderas’ central character is a filmmaker clearly modeled after Almodovar himself.

Although Almodovar is known for a fun personality and makes the most exuberant films, we learn that this filmmaker is shy and introverted. He is suffering privately from an assortment of maladies, most importantly with chronic back pain, migraine headaches and depression. Because of the chronic pain and the depression, he has isolated himself in his apartment, blocked from his work and avoiding all social engagement.

The restoration of an early film prods him into planning a public appearance with the film’s star, an actor that he has been estranged from for thirty years; that encounter plunges him into an entirely new strategy of pain management. Almodovar inserts vignettes from his childhood which illuminate his respect and adoration of women and his artistic and sexual awakenings. These flashbacks are brilliant.

Pain and Glory is as beautiful as any Almodovar film. The color palette is far less lushly vibrant than usual for Almodovar, but the more somber look is just as rich.

Banderas has never been better. His longtime close friendship with Almodovar clearly informed this searing performance, both with his close observation of his friend and because he cares for him. This performance will certainly earn Banderas an Oscar nomination.

Pain and Glory is an exquisite film. Some audiences may not want to invest in such a sometimes painful story, deliberately paced as it is. But those who settle in will be rewarded.

Cinequest: MARISA IN THE WOODS

Patricia Jordá in MARISA IN THE WOODS

In the Spanish dramedy Marisa in the Woods, Marisa (Patricia Jordá) is at a personal and career crossroads.  She’s burnt out from her job with a touring theater troupe and takes a needed break.  Unfortunately, she doesn’t get any support from her network of friends and colleagues, all of whom are needier than she is.  Her bestie is literally hysterical, over-dramatizing everything in her life until it leads to a tragedy.  Finally, Marisa finds some empathy after reconnecting with a teacher from her past, who has changed gender.

Marisa in the Woods is an acid commentary on first-world problems and the complaints of the self-absorbed.  As Marisa bounces from one dissatisfied friend to another, we are treated to a tour of Madrid locations, all the way to the magical realism at the ending.

This is a very witty film, obviously influenced by early Pedro Almodóvar (not a bad thing), but without Almodóvar’s frenetic energy.  Marisa in the Woods is the first feature for writer-director Antonio Morales.  Its US premiere will be at Cinequest.