‘Volveréis’, the latest film by Jonás Trueba, one of the most unique and recognizable Spanish filmmakers of today, reunites two of his favourite actors, Itsaso Arana and Vito Sanz. They both play a couple who have made the decision to break up after 14 years together. The news catches their entire circle of family and friends off guard, but not so much because of the event itself, but because they decide they want to organize a party to celebrate.
As the characters prepare for this event, Trueba dissects the remains of their dynamic as a couple. The most valuable aspects of a film that seeks and succeeds in being as light as it is profound are found in the description of their characteristics, both together and individually.
The filmmaker offers a very interesting contrast between the lack of conflict that the couple insists on showing in the face of their imminent breakup, with the reality of what it entails: restructuring a whole new way of life, re-administering everything they once built together. There is something very beautiful and sincere in the way in which the characters gradually realise the dimension of their decision, and also in their confidence in facing it with complete naturalness.
The concept behind ‘Volveréis’ – winner of the award for best European film at the Cannes Directors’ Fortnight – immediately catches the eye for its originality, but also because in the hands of another filmmaker, it could have been a ridiculous comedy. Instead, Trueba and his fantastic actors/co-writers find the right tone to ensure that it never takes its feet off the ground. Despite the crazy idea of its premise, the film is realistic at all times, and finds a convincing balance between comic and dramatic moments.
Although the difficulty of creating a whole narrative based on that simple idea was very high, ‘Volveréis’ suffers slightly from it: especially in its somewhat elongated central section, the film falls into an excessive repetition of ideas. Luckily, Trueba ends up coming out on top thanks to the self-confidence of his actors and some well-written dialogues.
However, his films remain a refreshing rara avis on the contemporary national scene. While a large percentage of Spanish filmmakers are increasingly inspired by rural stories and social realism, Jonás Trueba looks to the bourgeois and urban comedies of Woody Allen or Eric Rohmer. Here Madrid is once again portrayed almost as another character, under a romantic, idealized and loving gaze. His characters not only inhabit it, but in a certain way, embody its spirit.
In addition to his beloved city, Jonás Trueba also pays a nice tribute to his father, Fernando Trueba, giving him a brief but important presence in the film. In this way, everything is once again left to the small group: ‘Volveréis’, like all his films, is made among family and friends. And from there comes that naturalness and freshness so characteristic and that works so well for him. This is another endearing chapter in a coherent and increasingly promising filmography.
