‘It’s always winter’: and in the long winter a little light can appear | Cinema: previews and reviews

I have two small problems in a film that I really like, which leaves me moved, which makes me sad but also smile (even some laughter), with one of the most intelligent and honest endings I’ve seen in a long time (the sea at dawn and a question in worn out: “And what do we do now?”). One is that during the initial part the protagonist character It’s always winter I find it average, bordering on fatal. But little by little this boy, as desolate as he is confused, conquers me. In the end, I also end up wishing him well. I also find the caricature of the Uruguayan singer excessive and the deplorable lyrics of the very stupid song he performs. I also wonder how a woman as beautiful as Amaia Salamanca falls in love with such fools. Having clarified my character disagreements with these two guys, the rest seems exemplary to me. There is a story and a screenplay that is as risky as it is governed by intelligence, grace, unpredictability, narrative elegance and morality.

It is delicate to make a sexual and sentimental relationship credible and attractive (who knows if it will end in lasting love) between a 36 year old boy and a 63 year old lady. It’s broken. His wife has just left him to get back with an old boyfriend. It takes place in Liège, in a winter that seems very harsh, in the middle of an architecture competition that the protagonist is not sure he will win, presided over by an elderly Korean who will add to his status as an architectural genius a cryptic ability to mind his own business by exploiting the talent of young people.

But that boy brooding over his unhappiness, relaxed inside and out, inhabiting public park benches, will be lucky that an older, cultured lady, full of style, naturalness, understanding and class, who too long ago said goodbye to many things, feels seduced for one night by that suitably drunk desperate man and that this strange relationship offers some sign of not ending there.

I haven’t read David Trueba’s novel blitzwhich he has now transformed with remarkable talent into images and sounds. I can’t make comparisons. I’ll fix it. I hope it arouses the good feelings that assailed me with the excellent Know how to lose. And, as in the previous films of this director, as Living is easy with your eyes closed AND They know itI am attentive and moved by what I see and what I hear. I love the meaning of “band-aid” and “springboard” that a passing young lover offers to the sentimental castaway: I really like how Trueba uses music and it moves me that it reminds you of the forgotten George Brassens, that immense poet, who sang the beautiful The lovers of public banks.

And the more festive Franco Battiato also plays, begging: “I want to see you dance”.. In other words, I feel very grateful and complicit in many things in this sometimes bright, sometimes bitter film, full of questions that are difficult to answer. Talk about life and usually everything happens in it. And you don’t even know what will happen. But how well his uncertainty is described. And, of course, I love the actress Isabelle Renauld. His performance, his presence, his character.