Juan Antonio Bayona He has returned through the front door, supported by the powerful machinery of Mediaset Spain and the critical praise and national media, reaching in just three weeks 15 millions of euros with his latest film "A monster comes to see me".
In the multiple promotional campaigns that have been broadcast since the film was released, we have been able to witness a cascade of people leaving the cinema, ensuring that when you see it you will end up crying with it.. Bayonne seal is maintained once again, who already whimpering and tides caused fluid in public with his first two films: “The impossible” Y “The orphanage”.
However this issue is presented much simpler than its predecessors. Far from the noise generated by word of mouth and the predisposition to see a drama with capital letters - already in the trailer the fact of seeing the mother of the protagonist with a scarf on her head in a hospital room tells you that things are not looking good -, this story will enthrall slowly with very few elements.
Apparently it's the typical story now seen on the big screen: a young teenager with a broken family and social integration problems discovers what the adult world and must face the hardest pain that exists in it: loss. Up to this point, nothing new, all right. That's when the monster comes in, embodying the soul of an ancient yew tree next to an abandoned hermitage. From the hill where it is rooted, governs the cemetery. And this romantic and dark postcard are the views that has our protagonist from his window. But far from being intimidated, Connor O’Mally (Lewis McDougall), with his sad-eyes and scrawny physique, faces the monster and asks him to leave his affairs, as one who tells a known not to disturb you when you are busier. The creature, halfway between friend and mentor, It will take you through a path of revelations through three stories – the magic number in fiction – until it is Connor himself who reveals the great truth that he carries inside.. A structure reminiscent of that used by Guillermo del Toro in its “Pan's Labyrinth”.
A colorful fantasy, embodied in a captivating world of watercolors worthy of the very brothers Grimm, It will intertwine with the careful and cold photograph of the real world. On this side camping grandmother Connor, encarnada por Sigourney Weaver. With its straight lines and iron discipline, It is responsible for breaking the bubble that Connor had done with his mother (Felicity Jones) and return to reality. But her grandmother is also human and all this situation it will be charged a gradual physical change. Watch scene, in which it is contained Sigourney, even at the risk of the anger that leads inside the cracking of, It is just great. One of the most famous scenes of the film certainly.
But absolutely superb and so worth seeing this film is the way it is told. No big surprises or impossible to find ornaments. Actually, as they say, everything that has already been invented. No obstante, There is an authenticity in the interpretation and attitude of the characters that makes you realize that there is a little twist on this kind of story. Connor is not presented as a victim who all have to mourn. This is a boy's finding his way in this vast world that touch him deal, like many other, with the obstacles put his life. And as a worldly individual faces, presumptuous ways away from the fictional hero. Por ello, an empathy with him that causes the viewer legitimately a feeling of sadness that removes the mantra that we all carry within set: these stories exist and happen every day. But the boy pours so much value that we hardly see him come crashing down ... and that is precisely what stirs perhaps more. Simple and strong. this monster, definitely, "I will play the potato". What to mourn, and that goes with the person.
