The winning story of Fernanda Eimmbcke

Sometimes, at least when you are 14, the whole world depends on coming to fun – and the urgency only increases when life continues to throw the blockade of the way. For the title character of a low -key charmer ElmThese blockages of the road shape the day of the main turning point and discoveries, may change in the moment, but especially in retrospective.

Starting with his 2004 debut, Duck seasonThe silent fusion of Goofy and the transcendent, writer Fernando Eimmbcke, brought something specific to the screen in her features focused on teenagers: a sense of indentation of the absurdity of a Deadpan comic book with sadness that lurks on the periphery of everyday. Its fourth feature takes place with a warm splendor of a memory piece, but none of Gooey sentimentality.

ElmEimbcke and Vanessa Garnica, won by the scenario, focused on the neighborhood from modest homes produced at New Mexico, a place where trains lead nearby, and the horizon is dominated by mountains. For Olma Lopez (Aivan Uttapa), however, the main subject is attention – and fantasy – his slightly older neighbor Nina (Melanie from).

Olmo’s Mexican American parents speak Spanish at home, and he and his older sister Ana (Rosa Armendariz), English. The linguistic phenomenon that could be universal or at least widespread among the first generation Americans, plays with natural ease here. As for the response of children, more ingenious olmoa is not above whimpering, while parental requirements usually cause evenly boldness from Anna, which breathes cigarette smoke like a dragonfly fire.

The movie action strikes in equipment with border emergency that includes a mattress soaked in pee. Complicating humor is the reality that in the center of this Fiasco lies an Olm bed for a bed, a nestor (Gustavo Sánchez parra), disabled by illness (multiple sclerosis, was discovered late in the movie). The group effort to care for him is one of the challenging life facts, such as the car on Fritz and the overwhelmed rent, which the characters admit without sank into gloomy moaning. Suárez Paz has an apparent perseverance and grace, as well as exhaustion in Olm’s mother, Cecilia (Andrea Suárez Paz), while trying to maintain a household.

Olmo’s plans to head and hang out with his best friend Miguel (Diego Olmedo), he hit the strength when Cecila was invited to a job for an additional shift of a waitress, and all the Namutian Ana refuses to cancel his disco plans for the evening. Protesting that “only 14”, Olmo grossly accepts his destiny. Miguel is coming, rocking a new couple of boots Tony Lama, and they resign at night at – until the chance of being a heroes to Nina.

The next door of the “goddess”, as Miguel describes her, promised to bring Stereo to a party, just to discover that her father had sold theirs. For the opportunity to attend the aforementioned party and achieve quality time with Nina, Olmo volunteers stereo devices of the Lopez family. Enter MacGuffin with history: it turns out that Stereo is just as dumpling as a car, which has encouraged a lesson about transistors, transformers and cathodes from Nestor, along with small campaigns at the time he handed him to Cecilia as a gift of the anniversary. Miguel with a sweet face is a far eager for a student from Olma, whose seemingly indifference to mechanical things will be rejected later, when he fixes his mother’s car and, with Miguel and Stereo as passengers, he points out in the direction of the party.

Olmo and Miguel are good children, and is a sad, entertaining affection for the vibration of the 70’s in the late 70’s. This is under the underlying production design of Lorus Allen and Cailey Breneman’s costumes, and in the selection of the record periods that specified the story, ranging from the obscure Mexican garage rock to Megahit Slade (music supervisors are Joe Rodríguez and Javier Nuño). (One notable mistake, and this is certainly not the first movie that made: Letters call for Radio Station Las Cruces, heard in the movie, would start with K, not W.)

Composer Giosuè Greco, whose loans include another feature to start, last year’s DistancedContributes to the eloquent result of sad chords, as well as a cunning passage, a fine and an inexplicable supplement to the action. This action includes stereo-i-city in the city, a compact piece of equipment soaked in one generation’s memories, while serving as an assistant to Olmo and Miguel’s On Saturday night fever-Tapped dance movements.

Like almost all about these two, their fascination with Tony Manero has a boy’s innocence. Two performers convey the charm of their characters without effort, and there is a disarming the lack of obligations in the way they embed, in the center of the story, it drives its tone shifts while Olmo faces the moments of waking up, and sublime and potential breaking.

Another extract in a strong actors is Sánchez Parra. Nestor is a man trying to maintain his dignity while at the grace of everyone around him, his frustrations that have risen to the surface of the smallest provocation of his children talking about his return or his younger brother (Valentin Mexico), a hotthi with Trans Am.

Completely in synchronization with director’s sensibility, Deft Carolina Costa, Deft Camerawork, includes these characters, this place and endless dance between light and dark: washed turquoise of the morning sky, empty streets and semi -browned rooms, noisy shadow, and the wrong stop of Olmo and Miguel’s Night Odyssey. For a few long minutes the boys are in the house from a teenager, but at the wake of a stranger. After an emotion on the surface, they shortened, modest pure escapes like the movies ever saw – intact, but, like true heroes, not unchanged.