The anecdote that I am going to tell you reconciles me with tolerance (of which I am not a model), but above all with intelligence and rationality. One Last Night The star is a friend of mine and his teenage daughter. This, in the age of uncertainty and extreme vulnerability, naturally told her father something transcendental and unplayable in their sexuality and their feelings. That I was a lesbian His response was: “Well, very well, daughter, be happy. From now on, we can talk endlessly about what we like most in life: women. ” It seems to me anthological, it is a test of wisdom, love, pragmatism, sense of humor. I think about her and I always see a huge smile that agrees with life to someone who often fights with her. And I see a credible and very attractive Spanish film in which admitting that feeling will suppose a family and social hell, rejection and marginalization, the conviction that Satan has entered the heart and the brain of these children, intolerable challenge to laws and customs ancestral

It is called Carmen and Lola. It has suffered prematurely the rejection of some associations, accused of perpetuating stereotypes about the gypsy race. The Quake I do not know if its promoters also militate in a feminism enamored of the nonsense, with compulsive necessity to make continuous pyres of transparent, subterranean or suspicious witchdoctors. There they. What the accusers can not deprive me of is to understand, admire, enjoy, feel pity, to wish them freedom and fulfillment to these women in love in a complex story that gives off authenticity, situations and feelings as well exposed as developed, carnality and lyricism, dialogues, voices and tones without the slightest shadow of impostures, non-professional interpreters that convey verisimilitude and life. Zaira Morales and Rosy Rodríguez are splendid. It is moving everything they express with their eyes and their movements, what they say and what they keep silent, the battle, the moral invoice, the affective rupture with the people of their blood, the uprooting they will have to pay for something so natural and irrevocable how to have fallen in love

It is the first film directed by Arantxa Echevarría. But there are no beginner gaps in it nor vacuous pretensions. His costumbrismo is good, has freshness, sensuality and ability to thrill with those two people who refuse to accept the role they require traditions, full of understandable fear dare to insubordinate, to follow what dictates the body and the heart. It is a film with atmosphere, I Am Mother it captures the rhythm of the urban landscape, it describes a universe in which reigns with unquestionable naturalness and antiquity the machismo, in which to dream is arduous and it is impossible to change the tribal norms. Although neither the authorship nor the argument have anything to do with each other, there is something captivating, torn and close in Carmen and Lola that reminds me of what I felt with two other memorable prime operas in Spanish cinema. They were signed by Benito Zambrano and Achero Mañas. They are titled Solas and El Bola. And I know that mental association is not capricious.