In their huge Brutalist mansion, Per Oscarsson and Geraldine Chaplin send the servants away and hide from visitors to role play.
It's a movie I watched through the end to see if there was any point to it other than the apparent co-dependency of the characters. In the end I could not find any other major object, other than a possible political theme about the relationship of Spaniard with the Franco government. That, however, is both too obvious and too rarified to have any real sense of serious subtext. Just as there are film critics who see fascism in every German movie from 1919 through the end of the Second World War, you can shoehorn every serious Spanish movie of the second half of the Franco era into political commentary. Does the fact that Miss Chaplin and the movie's director, Carlos Saura, were in a twelve-year relationship that ended about 1980 have any bearing on this movie? Quite possibly, but it's too personal for an audience not hipped to that fact.
It's a movie I watched through the end to see if there was any point to it other than the apparent co-dependency of the characters. In the end I could not find any other major object, other than a possible political theme about the relationship of Spaniard with the Franco government. That, however, is both too obvious and too rarified to have any real sense of serious subtext. Just as there are film critics who see fascism in every German movie from 1919 through the end of the Second World War, you can shoehorn every serious Spanish movie of the second half of the Franco era into political commentary. Does the fact that Miss Chaplin and the movie's director, Carlos Saura, were in a twelve-year relationship that ended about 1980 have any bearing on this movie? Quite possibly, but it's too personal for an audience not hipped to that fact.