‘An Autumn Without Berlin’ (‘Un Otoño impiety Berlin’): Film Review

A 20-something lady earnings home in hunt of emancipation in Lara Izagirre’s debut.

A enthralling executive opening and a nuanced atmosphere of romantic sweetmeat are a hallmarks of An Autumn Without Berlin, a rather chintzy pretension for an wholly unchintzy debut. Signaling a director, Lara Izagirre, as a name to watch in a sadly singular pantheon of Spanish women directors, Autumn traces a difficult lapse of a juvenile lady to her hearth with refinement and clever eye on a romantic truth, eschewing a easy dramatics and tenderness that it could simply have depressed chase to. Fest play would be deserved for a best entrance from a lady executive that Spain has constructed in 2015.

June (Irene Escolar) earnings from Canada to her tiny city in a Basque country. After job during a home of her agoraphobic ex-boyfriend Diego (Tamar Navas) and removing no reply, she heads home, where her father (Ramon Barea) serve gives her a cold shoulder. The reasons for all a rejection, and for June’s return, are never categorically supplied, though Jun seems to have unexpected deserted a group in her life following her mother’s genocide and has now returned in hunt of emancipation and a second chance.

Only her hermit Aitor (Mariano Estudillo) and profound crony Ane (Naiara Carmona) offer Jun anything like a comfortable welcome, while her loyalty with a tiny boy, Nico (Lier Quesada, radiant though not cutesy), generates some of a film’s many touching moments and counterpoints a tainted relations between a adults, who in fact are working like children.

After anticipating and reading a story of Diego’s about Berlin, Jun decides that they contingency go there together to live: a unequivocally pretension lets us know how distant that sold plan runs, while also intimating that a film’s genuine interests distortion elsewhere. This is a melancholy, indeed autumnal investigate of how majority is a doubt of sacrificing dreams to realities, delivered in an elliptical approach that’s infrequently frustrating though some-more mostly effective. ‘Do we unequivocally wish to know what we think?’ Ane asks Jun during one indicate in a film thick with such keen small exchanges, and a answer comes back: ‘I don’t consider so, no.’

Better-known In Spain for TV than for film work, a almond-eyed, fragile-featured Escolar has usually played a executive filmic purpose once before this, though she seizes this new event with both hands. Present in most each stage – this is unequivocally most June’s film — it’s transparent from a early close-ups that a thespian vigour is going to be on her, and she duly delivers a low-key, naturalistic opening as a sense who solemnly comes to comprehend that dreams she has nurtured abroad are unnoticed now that she’s behind home. It’s a opening that’s best summed adult by a lingering, heated final shot, tighten to 5 mins long, display June’s face mirroring a charge of emotions inside her. Both Escolar and a film have saved a best compartment last.

The group in Autumn are not as good drawn as a women (and even Ane represents a small too simply a highway not taken by June). Navas indeed has a intensely soulful gawk of a young, uneasy writer, though a book fails to entrance his middle life. He comes over as some-more shabby than anything else, and as reduction than a estimable compare for June. Vet Barea always brings a hold of distinction, though his realistic refusal to speak to Jun after she earnings comes over as testy and immature, and even Barea struggles to shake off that initial impression.

Visually, it’s aptly claustrophobic, with cloudy, spacious exteriors and murky interiors comparison shot in a boxy 4:3 aspect ratio to serve worsen a effect. Some scenes aria a small too tough for significance. Joseba Brit Elola’s measure is spasmodic lovely, as it is by that final stage — a one that finally confirms An Autumn Without Berlin as a medium though sensitively excellent film it is.

Production company: Gariza Films

Cast: Irene Escolar, Tamar Novas, Ramon Barea, Lier Quesada, Naiara Carmona, Paula Soldevila
Director, screenwriter: Lara Izagirre
Executive producer: Gorka Izagirre
Director of photography: Gaizka Bourgeaud
Production designer: Koldo Jones
Costume designer: Iratxe Sanz
Editor: Ibai Elortza
Composer: Joseba Brit Elola
Sales: Gariza Films

98 minutes