Supported by a script and excellent direction, Ispansi, the second film by Carlos Iglesias put it, in my opinion, one of the highlights of today's cinema. There are many things to highlight about this film, but especially one above the rest: the courage to face for the first time in fiction, children's story of war, those English children who were sent fleeing to Russia of a war, not knowing that there would be found reaching fully tucked in another.
is remarkable how the story is told with love over sides and ideologies. That is Ispansi: a beautiful love story and necessary, a story of true love lived through a life marked by brutality and barbarity of war, hatred and misunderstanding.
Carlos Iglesias, possibly one of the last great humanist left in this country and moved us with his first film A free, fourteen pesetas for the so personally address issues that remain vivid in our collective memory (that of English migration to Switzerland in that case).
With Ispansi, a film based on hechos reales, da un paso más en esa dirección, poniendo frente a nosotros uno de los temas que más fuertemente marcaron la historia de una generación de este país y la de todos los que vinimos detrás: el de la Guerra Civil y sus consecuencias. Y no lo hace para abrir viejas heridas, como siempre se achaca a quienes defienden la necesidad de recuperar la memoria histórica y hacer justicia con esos más de cien mil desaparecidos que todavía hoy están enterrados en cunetas de y fosas comunes, con los miles que murieron en el exilio, con todos los que sufrieron la represión de la dictadura, con todos los que tuvieron que dejar su país para ir al exilio...
Ispansi está dedicada a los que perdieron y especially to those who did not
Ispansi not want to open old wounds, but teach the way they can be closed in truth and justice once and for all. It is dedicated to those who lost, who lost all, but especially "to those who did not."
To make this work, Carlos Iglesias was documented in books, documentaries and review of files, but the most important documentary work were the numerous interviews he held for over a year with some of the survivors of the war children , old as he spoke with nostalgia of the world that was and could have been.
comment I remember hearing that one of interviews that most impressed him was that of an old Spaniard who told how he tried to return, having spent most of his life in the Soviet Union to Spain to meet his people and his family. He felt an unbearable sense of rejection by her family and the certainty of not belonging to that world he had left so many years (until Stalin's death were not allowed to return to Spain). A few days later began the journey back to the Soviet Union. Never returned to Spain. Never saw his family. Empathy
The way scenes are interspersed, how linking will smooth flow in which all frames are closed in due time, the subtle touches of humor in pain - as real as life itself and the flash backs that allow us to live all that is happening the characters from the subjectivity of their stories, make the viewer feel part of it, like an exile rather than going on the trip to nowhere.
The voice-over, the enemy of so many films, is here masterfully used, making the audience have the feeling of being children from a prodigious storytelling that, like the Arabian Nights, tells a story that from the first sentence, takes over completely oneself.
Ispansi is a beautiful carousel of feelings and emotions that lead us to laugh, smile and choked to tears
Another Ispansi struts is without doubt his wonderful photography. Each frame is a true picture. They can see all the colors from the vast white emptiness of the steppe Soviet more autumnal forest where the last green to miss playing with the reds, browns and yellows. The golden light of the interior conveys an overwhelming sense of peace and privacy, and its contrast with the cold blue of the external causes, while the characters live their story on screen, viewers literally stuck on the armchairs, live as if it were our own.
The sharp contrast between the blue and cold photograph used for scenes that happen in the Soviet Union and the warm and bright scenes used for Madrid and Seville is a lesson on the correct use of photography in the service of a story. The camera movements, provided timely and subtle, contributes to the poetic air Ispansi has at all times. The special effects, many high quality, serve the story, as it should be, not as so often happens, in which the story is just an excuse to show off those effects. Banda
Composite score by Mario de Benito, is breathtakingly beautiful. Perfect companion at all times in history and surrounds us, takes us from the depths to live the story we're seeing on the screen. The version of Santa Barbara, the miners' hymn, which begins with a piano solo is memorable and helps create one of the most beautiful emotional climax of the film. Because that, Ispansi is a beautiful carousel of feelings and emotions that lead us to smile and laugh choked to tears, those tears that everything is clean and we like when we really let the love and fall beauty to the depths of us.
is remarkable how the story is told with love over sides and ideologies. That is Ispansi: a beautiful love story and necessary, a story of true love lived through a life marked by brutality and barbarity of war, hatred and misunderstanding.
Carlos Iglesias, possibly one of the last great humanist left in this country and moved us with his first film A free, fourteen pesetas for the so personally address issues that remain vivid in our collective memory (that of English migration to Switzerland in that case).
With Ispansi, a film based on hechos reales, da un paso más en esa dirección, poniendo frente a nosotros uno de los temas que más fuertemente marcaron la historia de una generación de este país y la de todos los que vinimos detrás: el de la Guerra Civil y sus consecuencias. Y no lo hace para abrir viejas heridas, como siempre se achaca a quienes defienden la necesidad de recuperar la memoria histórica y hacer justicia con esos más de cien mil desaparecidos que todavía hoy están enterrados en cunetas de y fosas comunes, con los miles que murieron en el exilio, con todos los que sufrieron la represión de la dictadura, con todos los que tuvieron que dejar su país para ir al exilio...
Ispansi está dedicada a los que perdieron y especially to those who did not
Ispansi not want to open old wounds, but teach the way they can be closed in truth and justice once and for all. It is dedicated to those who lost, who lost all, but especially "to those who did not."
To make this work, Carlos Iglesias was documented in books, documentaries and review of files, but the most important documentary work were the numerous interviews he held for over a year with some of the survivors of the war children , old as he spoke with nostalgia of the world that was and could have been.
comment I remember hearing that one of interviews that most impressed him was that of an old Spaniard who told how he tried to return, having spent most of his life in the Soviet Union to Spain to meet his people and his family. He felt an unbearable sense of rejection by her family and the certainty of not belonging to that world he had left so many years (until Stalin's death were not allowed to return to Spain). A few days later began the journey back to the Soviet Union. Never returned to Spain. Never saw his family. Empathy
The way scenes are interspersed, how linking will smooth flow in which all frames are closed in due time, the subtle touches of humor in pain - as real as life itself and the flash backs that allow us to live all that is happening the characters from the subjectivity of their stories, make the viewer feel part of it, like an exile rather than going on the trip to nowhere.
The voice-over, the enemy of so many films, is here masterfully used, making the audience have the feeling of being children from a prodigious storytelling that, like the Arabian Nights, tells a story that from the first sentence, takes over completely oneself.
Ispansi is a beautiful carousel of feelings and emotions that lead us to laugh, smile and choked to tears
Another Ispansi struts is without doubt his wonderful photography. Each frame is a true picture. They can see all the colors from the vast white emptiness of the steppe Soviet more autumnal forest where the last green to miss playing with the reds, browns and yellows. The golden light of the interior conveys an overwhelming sense of peace and privacy, and its contrast with the cold blue of the external causes, while the characters live their story on screen, viewers literally stuck on the armchairs, live as if it were our own.
The sharp contrast between the blue and cold photograph used for scenes that happen in the Soviet Union and the warm and bright scenes used for Madrid and Seville is a lesson on the correct use of photography in the service of a story. The camera movements, provided timely and subtle, contributes to the poetic air Ispansi has at all times. The special effects, many high quality, serve the story, as it should be, not as so often happens, in which the story is just an excuse to show off those effects. Banda
Composite score by Mario de Benito, is breathtakingly beautiful. Perfect companion at all times in history and surrounds us, takes us from the depths to live the story we're seeing on the screen. The version of Santa Barbara, the miners' hymn, which begins with a piano solo is memorable and helps create one of the most beautiful emotional climax of the film. Because that, Ispansi is a beautiful carousel of feelings and emotions that lead us to smile and laugh choked to tears, those tears that everything is clean and we like when we really let the love and fall beauty to the depths of us.
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