> The Great Bear Minus Two. By Miguel Marías

> Taken from the book of Hilario Rodriguez "Miradas para un nuevo milenio. Fragmentos para una historia futura del cine español". Javier Cortijo

> Lucca Film Festival

> ABC. Por Javier Cortijo.

> Cahiers du Cinema. By Jara Yañez

> The last ballad of a sniper.
By Sara Brito. Publico

> Elusive smoke over blue sky.
By Javier Cortijo. ABC

> Documented madness. Ana Castaño. Memeber of Escuela Lacaniana de Psicoanálisis. Madrid.

> Abdelfatteh FAKHFAKH. Magazine “Le Cinephile". Túnez.

 



 
     
     
     

 

ELUSIVE SMOKE OVER BLUE SKY
Javier Cortijo. ABC

The Spanish people, that’s clear, we all like craziness: our bigger universal bastion is Alonso Quijano, the best sports fan is the “dementia”, and the best audience television records are when some fallen hero totally losses his mind. Even one turned a little bit crazy when, on the heels of the review about another documentary, writes that “The Great Bear Minus Two” was one of the five best Spanish movies of the decade. It’s not that we want to rectify, that is of wise people like some coward said, but was necessary a revision that, fortunately, has come with the great news of the première in commercial cinemas.

And, if the first time we saw the film our soul can’t reach our bodies with the shocking chronicle of a time in the purgatory (that is naturally worst than hell) lived and filmed by David Reznak between the Leganes Psychiatric Hospital’ walls, now it’s even worse: we know, or suspect, that the boy who dreams of being a horn performer or Isabel, the one who the sun call her bitch, they will follow banging their heads against the cotton and thorn fences of their own neuronal maze, not being able to find the way out, month after month, year after year. Precisely by that this documentary acquires a perennial value inside the petrified forest full of undergrowth and fallen leaves in what this genre has become. Fakes can proliferate, or the tedious TV reports fatten like gooses, but the raw daily poetrywith no traps or cheap symbolism of this film remains like an iron testimony about the human being fragility. Theirs and ours, because those who are free from madness throw the first straight jacket.