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| La Ardilla roja (The Red Squirrel) (33%) |
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Plot:
Two families from the Basque region of Spain become entwined in a civil war in 1875, leaving behind a score for future generations to settle. As the decades eke on, a patriarch becomes an observer -- ...( read more 
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Recent Reviews
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MCT:September 11, 2008At the trenches of Biscay in 1875 during the Second Carlist War, an army sergeant named Carmelo Mendiluze (Kandido Uranga) learns from a young errand boy named Ilegorri (Ortzi Balda) that a neighbor named Manuel Iriguibel (Carmelo Gómez) from his native village has joined their exhausted battalion. Eager for news of his child's birth, Carmelo befriends the inexperienced soldier whose reputation as an expert aizcolari (competition log cutter) cannot conceal his apprehension and fear of armed combat. Manuel's paralyzing timidity results in tragic consequences that is exacerbated by a subsequent ignominious act by Manuel in an attempt to be transported away from the front lines and evade military duty. Thirty years later, in the town of Guipuzcoa, a lingering animosity has continued between the Mendiluze and Iriguibel families. Miguel's grown son Ignacio (Carmelo Gómez) and the Carmelo's son Juan (Kandido Uranga) have maintained family traditions by honing their skills as aizcolari. Despite the strained relations between the neighbors, the destinies of the two families seem fatefully interconnected, as a close childhood friendship develops between Juan's younger brother, Peru (Miguel Ángel García) and Ignacio's sister, Cristina (Ana Sánchez). Similarly, Juan's sister, Catalina (Ana Torrent), cannot conceal her romantic interest for Ignacio as she furtively watches him practice cutting logs in the woods - an attraction that proves to be mutual through Ignacio's playful attempts to catch her already piqued attention. In an attempt to capitalize from the rivalry between the two families, Ilegorri (Karra Elejalde), now a grown man, arranges a waged competition between the two men and soon, Ignacio's career as an aizcolari contender is launched. Invariably, Ignacio's travels to national competitions lead to fame and success, and consequently, prolonged separation from his family and his beloved Catalina. But as the vanquished Juan becomes increasingly obsessed and delusional with thoughts of vengeance, can love transcend the bounds of familial obligation?
Julio Medem creates an intelligently crafted, visually exhilarating, and symbolically rich examination of love, duty, and nationalism in Vacas. The title of the film refers to the passive omnipresence of cows, and also serves as a contrasted allusion to the national tradition of bullfighting. Using the repeated perspective of a spectator (shot through a simulated circular diopter, Medem provides an objective chronicle that captures the incongruous coexistence of peace and violence, friendship and betrayal, tranquility and chaos. Correlating the Mendiluze and Iriguibel family rivalry to span pivotal events in Spanish history, Medem further illustrates the cyclical nature of the unresolved strife and vacillating alliance by using the same actor to portray generations of characters, even those from opposing families. Note the actor Carmelo Gómez's transformation from the cowardly Manuel Iriguibel in the Carlist Wars, to Manuel's son Ignacio in 1905, and eventually, to the matured photographer, Peru Mendiluze, who returns the Basque region at the onset of the Spanish Civil War in 1936. As the film follows the odd union of the Basque soldiers with the monarchists and the Catholic Church during the Carlist Wars, to the unusual alliance with the socialists and communists for the preservation of the republic against the fascist forces led by Franco during the Spanish Civil War, Medem presents an impartial, yet deeply personal and thought provoking account of the continued devastation, nationalism, and inconstant allegiance of the Basque people, as they struggle for the seemingly elusive causes of autonomy, self-determination, and cultural identity. -
MCT:February 9, 2007it was very strange, and rather boring. it was Romeo & Juliet with cows, oh and incest. yea. it was a strange family conflict. it was cool how the director had the same actors playing the people of each generation.
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MCT:November 9, 2006
During the Second Carlist War, two neighbours find they are fighting side by side at the frontline. However when Iriguibel (Gomez) is fatally wounded trying to attack, Carmelo (Urango) escapes the battlefield by faking his death. This act of perceived cowardice sparks a bitter feud between the two men's families, a feud that lasts over three generations and comes to a head during the Spanish Civil War (Some 100 years later).
Whilst Medem's primary aim here is to decontruct the macho posturing of Basque folklore, there is enough visual trickery and surrealistic touches to satisfy those not up on their Spanish history (such as myself!). Despite the fact that this film spans three generations, Medem decided to use the same cast members to play each successive adult offspring and whilst this is a little confusing at first, it is effective and is ably carried off by strong performances by both male leads. Dialogue in the film is somewhat sparse but the main emotional outlet here is expressed through lingering gazes and knowing glances, an element effectively captured in particular by the talented Suarez. Aside from the strong performances, the cinematography is top-notch with shots ranging from the lush rural landscapes to bizarre free flowing camera movements.
Overall this is an interesting feature that should entertain fans of Medem or European cinema in general.
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