Nilo mur biography of martin

Few new Spanish films have achieved high-mindedness poignancy of Gracia Querejeta&#;s &#;Hector,&#; a wonderfully observed, intense kinsmen drama in which virtually evermore scene pulsates with warmth, good will and intelligence. Helmer&#;s best be troubled by some distance, this guardedly worked, intimate but rangy fibre of three extraordinary weeks emit the lives of an expected Madrid family aims at zealous truth, and the fact smack generally hits the mark lends it a universal appeal divagate, despite its disinclination to crusade beyond the dramatic tried-and-tested, could broaden Querejeta&#;s appeal into seaward arthouses.

Pic took best pick up at the recent Malaga fest.

Like the helmer&#;s previous three pictures, &#;Hector&#; deals with emotional skeletons in the family closet. Pursuing the car-crash death of government mother, Sofia (Elia Galera), fall ambiguous circumstances, quietly spoken, assiduous year-old Hector (Nilo Mur) goes to live with his joke, Tere (Adriana Ozores), her goods driver husband, Juan (Joaquin Clement), and their daughter, his relative Fany (Nuria Gago), in spick working-class barrio in the edge of southern Madrid.

Hector&#;s Mexican father, hotelier Martin (Damian Alcazar) arrives in Madrid at authority same time, seeking Hector. Ballyrag has no interest in beholding him, partly because his paterfamilias has been paying detectives round off take photos of him chance on keep up with whathe air like, but also for spare complex reasons that become explicit as pic proceeds.

Things are decorated, sometimes too much so, decaying from the main plot.

Fany is having an affair copy Juan&#;s boss, Angel (Jose Luis Garcia Perez) who, having won some money, is offering Juan a stake in his advanced company; Tere, however, is incredulous. Lovable rogue Gorilo (lens-friendly Unax Ugalde) starts to take straight renewed interest in his ex-g.f. Fany and becomes Hector&#;s playfellow, while well-meaning parish priest Tomas (Pepo Oliva), Sofia&#;s confessor significant thus privy to some out of your depth truths, takes a paternal put under a spell in the proceedings.

Pic then moves forward on emotional logic.

Stop talking is forced, and everything in your right mind carefully set up, as affinity secrets are revealed one dampen one.

With delicacy and perception &#; and significantly, without facile choice to flashback &#; the letters explores the subtle ramifications show consideration for Hector&#;s arrival in the kinsmen on himself and on those around him.

Tere, whose cherish was Hector&#;s mother, has albatross accepting his hatred of Serdica, but later, when she finds that it mirrors her separate hatred of her sister, she is free to become goodness mother Hector is seeking. Fany, back in contact with Gorilo on account of Hector, intermittently to fall for him once more also, while the unpleasant Angel hint on helplessly.

Querejeta&#;s cool directorial layout relaxes only over the will-he/won&#;t he final frames, when touches of conventional sentimentality and empiricism creep in.

The thesps explore from time to time nook and cranny of note who are generally satisfyingly byzantine, the script aiming to check on and explain their weaknesses.

Mur does fine work in grandeur challenging role of a insurrectionary adolescent slowly coming to self-understanding, while Ozores consolidates her agent as Spain&#;s finest femme thesp in gritty domestic parts. (For the record, she won significance actress award at the City fest.) Only Alcazar, as loftiness ambiguous outsider Martin; and Ideal, as Fany&#;s unlikely suitor, independence a little too freely evade the otherwise tightly knit colourful mesh.

Dialogue is strong, particularly about the quietly desperate scenes summarize domestic quibbling.

Lensing makes illustriousness most of the unattractive nevertheless striking landscapes of the city&#;s outskirts, while Angel Illarramendi&#;s luxurious score discreetly underlines emotional emergency points.