# Películas de verdad

An episode of [Lloviendo cine](https://invisiblenetwork.ai/podcast/1657439655), 29 Jul 2024, 21 min.

Audio: https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/60835831/lloviendo_peliculas_de_verdad.mp3

En el programa de hoy de Lloviendo cine vamos a hablar de cine de verdad. Vamos a traer películas de verdad. Películas de corte social e incómodo, cine comprometido, cine realizado en los últimos años a ras de suelo, a pie de calle, con argumentos cotidianos y costumbristas con los que es fácil conectar. Y lo vamos a hacer trayendo películas españolas, un puñado de buenas historias que cuentan con un aura especial en torno a las mismas. Cine de verdad.

## Transcript

[0:26] Let' s go one more show of your favorite podcast me, watching which
[0:35] you are all pertinent and conveniently invited. You don' t need any kind
[0:39] of entry, you don' t need any permission. Open doors wide open
[0:45] one more program of it. Watching movies where we' re going to talk
[1:06] about real movies and what we' re talking about with real movies, because
[1:12] we' re going to say it directly, movies that put their finger in
[1:19] the wound, even in the wound, movies that tell the truths of the
[1:25] boatman and that many times because they don' t bother or don' t
[1:30] think they see or don' t want to tell. Compromising film, social
[1:34] film, which we have already talked about on some occasion, forgets our minds.
[1:41] That program that we dedicated to Don Kellog and in which we made a
[1:47] paragraph of all that social and committed cinema that was made along all the gold.
[1:53] But this time we' re going to focus on talking about real movies
[1:57] with Spanish. We are going to bring in a good handful of Spanish films
[2:07] to refer to and to try to define that term that we have come up
[2:13] with for today' s show of raining cinema. Today he' s going
[2:16] to parade real movies. Today he' s going to parade good Spanish committed
[2:36] cinema. All the films that are going to come to today' s show
[2:39] of raining cinema distill humanity, daily life, of cyan truth, films that
[2:50] cannot be detached from a certain documentary character, films that, without eating it
[2:58] or drinking it, have built from a time to this part, coinciding with
[3:02] the arrival of the 21st century, because a kind of Spanish neorealism, that
[3:07] did have its origin even in the time of Kinki cinema, but that has
[3:14] developed a way of seeing things very to err from the ground, very on
[3:16] the street. They all have a special aura that envelops all those films.
[3:24] It' s not exactly cinema verite, that would be another roll and flour
[3:31] from another cut and from another show raining movies and we take are not what
[3:39] we say social movies, committed movies, real movies and movies some even magnificent,
[3:47] that the evil ones will call demagogic and you already know who those evil
[3:54] ones are, how loud those evil ones are. Are movies that bother you
[3:58] which means that we' re doing something right? And how does a button
[4:03] show, a button right? Recent film Chinas of the year two thousand twenty
[4:10] - three by director Arancha Eche Barrio, which already in Carmen and Lola marked
[4:16] the guidelines of what wants to be dirty an honest cinema, direct that pretends
[4:24] that we open our eyes, that we do not look the other way,
[4:30] a cinema that opens borders, that opens conscience, a cinema if you want
[4:35] of the underworld, but that it is there is around the corner. Another
[4:40] thing is that we don' t want to see it or we don'
[4:45] t want to find out actors, in some cases that they don' t
[4:49] seem to be actors, in many cases they are street people, anonymous people
[4:56] with whom we identify fully and absolutely. A film that lived up to the
[5:00] best of the last edition of the Goya Awards and in the year two thousand
[5:04] fifteen, Juan Miguel del Castillo directed a prima opera, a tiny film,
[5:11] roof and food, starring an extraordinary Natalia of Molino, but look that the
[5:18] lord of the Castle still being small. His prima opera opened up a gap
[5:26] and also opened consciences. Another one of those uncomfortable movies that many people don
[5:32] ' t like to watch and that many bury because it doesn' t match
[5:40] their interests. Yes, those fine interests that will be said to be born
[5:46] at the dawn of the fifteen meters of that distant year already two thousand eleven,
[5:53] that seems to have been a little posterium. Well, it' s
[5:57] been thirteen years now and it seems like we' ve completely forgotten about it,
[6:01] because that social and citizen movement also had to get to the cinema came
[6:09] to all levels, because the cinema couldn' t echo that, because telling
[6:15] what' s told on the roof and food seems to be annoying. There
[6:20] are single mothers, there are economic difficulties, there is no end to them,
[6:28] and there are too many people who cannot get the basics with a roof
[6:34] and a meal. To the day two thousand five, Don Santiago Tabernero,
[6:41] former film critic, directed his opera prima life and color. It' s
[6:46] what prima operas have, accounts things that come to you, accounts things that
[6:53] you' ve lived and accounts things even otherwise, that you count on your
[6:59] faithful later. And that that Mr Tabernero has only directed a film after life
[7:04] and color and that counts in life and color The former film critic, Santiago
[7:10] Tabernero, because a Spain that he himself lived, a Spain that many lived,
[7:15] a Spain that paints Tabernero exactly the same as the film. An imperfect,
[7:24] naive, well- intentioned and, at the same time, dark Tabernero,
[7:31] hand made from memories and the X- ray that comes out of that
[7:39] setting are perfect. We would dare say this and not the Spain of the
[7:45] tell me. It was the Spain of the time, it was the real
[7:50] Spain. Also leaning on that fine Kinky that flourished in the years in which
[7:57] it is set, life and color, but of a somewhat different cut,
[8:03] hidden film. You haven' t seen life and color yet. Make yourself
[8:09] with it and you will have another way of real life at hand. Movies
[8:24] of izi arboyaino the izia Arboyain of wave is alone the iciar Boyain of flowers
[8:31] of another world, the izia Boyain and I give you my eyes the hizir
[8:37] Boyain of the first epoch, although we do not forget its last, in
[8:41] which it has already developed a certain style, already much more mature. But
[8:48] in those first three films the freshness that style that is pontaneity, interpretations that
[8:56] do not seem interpretations see. This is how it has been candela peña Ala
[9:03] tollaur or the clever sar and it seems that they are not acting, because
[9:09] when you talk about breath of fresh air of Spanish cinema in the late nineties
[9:15] and early two thousand Lord. Well, then, we have to blame and
[9:20] take responsibility in the best sense of the word. We must also blame and
[9:24] hold Doña Itziar Boyain and her films responsible for these intentions. A director who
[9:31] has always been incretzen and who with my eyes I give you, reached one
[9:37] of the peaks of recent Spanish cinema, but the first, the key film
[9:45] in the almost taboo subject of abuse between husband and wife. With a luis
[9:52] to use it is price, with a luis to use that definitely does get
[9:56] the best interpretation of your home. And if we say social and committed cinema
[10:03] daid and Arboyain direis and Fernando León of aranoa good is that Fernando León is
[10:09] already another level, it is another story, It is social cinema committed by
[10:15] antonomasia of our cinematography. We almost gave it away. As a matter of
[10:20] fact, Don Fernando León is a separate chapter within our cinema so many times,
[10:28] so many times he has set aside and so many times vilified. Not
[10:35] that it' s too much to comment on Mondays in the sun, but
[10:41] we want to focus on other films, even not so well known, at
[10:48] least that we have something to claim. And in the alborn of the cinema
[10:52] of Iziar buoyin O of Fernando lonesta the prima opera of Juan Diego Botto in
[10:56] Los Margenes year two thousand twenty- two, in which he resorts to a
[11:03] star star like Penelope Cruz to realize a well- intentioned prima opera that puts
[11:11] his finger on the wound, which focuses on the subject in the still infaust
[11:16] today, theme of the desaucios of flats in Spain. How is it not
[11:22] going to bother a film like in the Margins of John of Gobot still some
[11:28] will say a film like this in the year two thousand twenty- two.
[11:33] It has not been enough for you to try with the theme of the fifteen
[11:37] month if you are no longer in power, because the best of Juan Diego
[11:43] Boto' s film is that documentary character that at times dominates the film.
[11:46] He also resorts to another classic of this committed social cinema, a boxing.
[11:52] We could say, in the best sense of the word also Luis Tosar that,
[11:56] together with that documentary character of the same, the best of the film
[12:01] and in the year two thousand fifteen, to which it seems that it was
[12:05] a later film, Daniel Guzmán also directs his prima opera. In exchange for
[12:09] nothing that meant the release to the stardom of Miguel Herrán, the omnipresent Miguel
[12:18] Herrán, a film that is from the year two thousand fifteen and that appeared
[12:22] to be a later film, because it seems and is on its way,
[12:28] which is going to be a temporary film. How we chose in his day
[12:33] to anger the arrival of Daniel Guzman in exchange for nothing. We will then
[12:39] name it another Chero Mañas, a little unfair to say this. Daniel Guzman
[12:45] built his own roll from that. Yeah, from some Kinki movie upgrade,
[12:52] but it' s known that Kinky looks like he' s gone missing.
[12:56] We don' t know if, luckily or unfortunately already from our land.
[13:01] Everything has its romantic look and yes hero Mañas, All the films directed by
[13:09] Achero Mañas, from the ball to everything you want to go through November intandante
[13:16] cinema with cinema verité cinema to touch a little the nose cinema that many would
[13:24] not dare to play again the vola, again opera prima the release of another
[13:30] star, another almost infantile star. Juanjo ballesta. If we talked before I
[13:37] gave you my eyes, the other great Spanish film of this 21st century.
[13:41] We would dare say with the vola was inaugurated this cinematic century Patris. The
[13:50] pity is that the Madrid director, another of those directors he wants, is
[13:58] so little lavished on him. We' re looking forward to films such as
[14:03] Achero Mañas. That cinema really counted from a different prism the b face of
[14:11] cinema, a cinema that congratulates a whole manifesto of life and the first Almodóvar,
[14:30] even the most denostate, even Bebe, Lucy Bom and other girls of
[14:35] the pile, even Labyrinth of passions. But above all, that I have
[14:39] made to deserve this the freshest, most sincere, most direct, less sought
[14:46] after, less mature and more mature, the most refreshing, the preferred for
[14:52] many, although its best film for raining cinema is the law of desire,
[14:58] already in the law of the seo and already the matador began that other almodovar.
[15:05] We stayed with Peppi, Luci Bom, with Labyrinth and with what I
[15:09] have done to deserve this the three most true films of Pedro Almodóvar, not
[15:16] the most autobiographical. For that we have in particular three films. One of
[15:22] them we have already named the other two, year two thousand four and year
[15:26] two thousand nineteen, because already in the rest of the filmography of Almodóvar prima,
[15:33] the cinemaphilia prima, the most personal side of the Almodóvar, even writer,
[15:39] well, we except women on the verge of a nervous breakdown that is
[15:43] like an islet in its filmography, a film that goes to its own roll,
[15:48] halfway to everything we are saying. But seeing Doña Carmen Maura suffer what
[15:54] she cannot suffer in what I have done to deserve this is priceless. It
[16:02] follows the best interpretation, even above women on the edge of a nervous breakdown
[16:06] by Doña Carmen Maura. Another interpretation that does not seem to interpret the Almodóvar
[16:15] Really and in recent years and curiously all of them of the female genre.
[16:22] There are some directors who are thinking about it, who are raging it with
[16:27] their real cinema, with their cinema on the ground, with their films that
[16:33] sometimes do not look like movies, but authentic docudramas, many of them getting
[16:38] their own roll and in their prima operas, Pilar Palomero with the girls or
[16:45] the maternal, Carlas Simón with Summer one thousand nine hundred and ninety- three,
[16:52] or Alcarras and Oneca Morda there or Corno Estival and its resola, or
[16:57] Laburen with twenty thousand species of bees or Lauda Ruiz de Azúa with five lobitos
[17:06] diris and Paula Ortiz. It' s another style. Okay. There we
[17:11] have from your Window to mine, his cousin opera. The rest is no
[17:17] longer as real cinema as all of the ones we' ve named. What
[17:23] is the favorite and favorite of all these films directed by all of them,
[17:30] for the lasté all with five lobitos to Lauda Ruiz de Azúa, directed
[17:36] the last and great social and real cinema and so far has arrived a program
[18:37] more of your favorite podcast and I watching cinema in which we have talked about
[18:41] that real cinema, that real cinema of the last Spanish cinema, that social
[18:48] cinema, that committed cinema, that cinema so human, so everyday, with
[18:55] some air of documentary character, with that Spanish cinema that has been built throughout
[19:00] the 21st century and that has developed that cinema grab on the ground. Thanks
[19:08] to people, as said voyain Arancha Echevarría, Juan Miguel del Castillo, Santiago
[19:15] Tabernero, Daniel Guzmán or Juan Diego Botto and thanks Don chero mañas and thanks
[19:21] to the first var mode and thanks to all those directors who continue under their
[19:27] own roll with that legacy of social cinema. Indeed, according to what I
[19:33] have seen and listened to you, we are sane for a while waiting for
[19:38] the program to have been of your total pleasure. We say goodbye until next
[19:44] week, to which we will talk about a subject that, as we always
[19:47] do in the coming days. Until then we can only thank you very much
[19:52] for your attention, much more your patience and make you the final culinary recommendation
[19:56] of everything ho pindocine eat a lot of banana, which is very healthy a
[20:03] whole fruit, really and when you can to heaven, you know what you
[20:06] have to do. Look for your cloud we all have one and when you
[20:11] have established trust and conversation with it, you have to tell it well.
[20:14] I' m quite clear about what I' m avoiding Cine Pardiez.

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