The Valencian director Avelina Prat He already demonstrated his human sensitivity in his prima opera, Vasil. He now faces his second fiction feature film confirming his talent, first as a screenwriter but also as director. To his professional has short films, his work as a script for twenty years and his work as a programmer of the Jove Jove Festival in Valencia.
Fernando (Manolo alone) He is a history teacher at a Valencia Institute and has been married for several years with a Serbian immigrant, Milena. One day, she disappears without a trace. He has taken his clothes but has left his mobile. After waiting for her a couple of days, Fernando Go to the police, which, a while later, informs you that you have the information that Milena He has crossed the Serbian border. Fernandobaffled and devastated by that inexplicable abandonment, decides to leave to Portugal with the intention of starting over his life from scratch. In Portugal you will meet Amalia (María de Medeiros), A woman who has also had to turn her back on her past.
A fifth Portuguese It is a splendid writing exercise. Not only because of the conception of the plots and their turns, but also for the construction of characters. The film can be considered a drama with the tone of thriller or vice versa, a thriller with drama air. In any case, it offers an enormously suggestive identities construction strategy. The characters – and we, real human beings – recreate their identity based on relationships and links: those that are lost and those acquired. Fernando He is passionate about the maps, but loses interest in them when he runs out of the map of his own life and no longer knows what his home is, or what path he should take. All his motivation as a teacher vanishes when he runs out of the object of his love. However, life will give you the opportunity to find your new place in the world, your new navigation letter.
The staging is simple and essential, of the same style that he showed Avelina Prat in Vasil. Spaces inhabited by characters, and characters that are revealed – and self -reflecting – in spaces: a house, a garden, a fifth, a cafeteria. Velin He knows how to make the characters transmit their mystery more than their evidence, and therefore the film is a thriller that is not seen, but that it shows. Love your characters so much that you will not leave them lying in the gutter, but you will not offer them a naive or unreal exit.
A fifth Portuguese It is a film without antagonists, populated with injured but good characters, a tape full of silences, looks, in which there are no reproaches or judges anyone. It tells us about loneliness, immigration, love, forgiveness, second opportunities, home and identity. But without being noticed. It is the great virtue of the film.
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