All in one day puts art at the service of invisible. The film (En los margenes is the original title), project with which the actor Juan Diego Botto makes his debut at the direction, starring Penelope Cruz. The actress Oscar Prize he started acting thanks to the lessons held by his friend’s mother and now the two are meeting – for the first time – on a set to tell the weight of everyday life.
After the preview at Venice Film Festivalthese stories debut at the cinema on March 2, with all the strength of the realism that in recent months has earned them the comparison with the works of Ken Loach.
The three protagonists find themselves in the middle of a fight for survival: in 24 hours their life will change radically and they try with all their strength to put a dam on a social system that is about to engulf them.
Justice has definitely failed against Azucena (Penelope Cruz), a courageous mother who tries to oppose the eviction imposed by the bank. Her husband’s worker’s salary is far from covering her expenses, her he doesn’t give upbut desperation takes possession of her little by little.
Teodora (Adelfa Calvo) is also on the brink of the abyss, ready to do anything to save her son who instead insists on rejecting her. In the case of Rafa, on the other hand, played by Luis Tosar, it is the family that pays the consequences of his abnegation as an advocate for the least. To prevent an Arab woman from taking her daughter, he uses all the time and resources available to her.
None of the three characters asked to be a hero, indeed it is light years from a state of complacency: each of them has means unsuitable for their needs. Basic rights are ignored and trampled upon leaving them all without dignity or hope.
The picture is dishearteningfull of anguish and even claustrophobic at times. It seems to watch a documentary but no, this work of fiction is as close to reality as you can imagine.
The new poor they are the neighbors, the parents of their children’s schoolmates or colleagues who are unable to pay a bill or pay the rent.
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Azucela’s drama is a universal pain, a collective plague that is becoming increasingly incurable. The public is unable to look elsewhere, chained to their anguish from the first moment, in distress and almost overwhelmed by a widespread sense of malaise. He stops being a spectator and feels invested by the power of a film that leaves no escape.
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Source: Vanity Fair
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