Las huellas borradas

This film traces the return of a poet , Manuel Perea : Federico Luppi , as he goes back to his birth origins , it is a little town called Higuera, but it results to be a deadly location about to be drowned by a swamp . The film examines Manuel's relationship with his local family , sister-in-law : Mercedes San Prieto , niece : Elena Anaya and friends: Héctor Alterio , Mario Pardo , Txema Blasco , Asunción Balaguer, Raúl Fraire, among others. Meanwhile, he falls in love again, lighting old loving ashes.

A slow motion film with deep human relationships , enjoyable roles and a nice romance when our starring rekindles an old flame. In the film there is a detailed character study with special depth on the protagonist, Manuel Perea , competently played by Federico Luppi as a disenchanted writer who returns to his tiny hometown in northern Spain, as the little town is about to be flooded by a reservoir in a matter of days and along the way , revealing some hidden secrets . The film has been inevitably associated with the town of Riaño, León that was actually flooded . Here stands out a great plethora of notorious secondaries giving terrific interpretations , such as : Mercedes San Prieto , Raúl Fraire , Ramon Barea , Asunción Balaguer , Mariví Bilbao , Mario Pardo , Pep Oliva , Armando del Río , Txema Blasco , Joan Dalmau and special mention for Héctor Alterio who excels as a good-natured , peculiar elderly man . Being compellingly shot in Picos de Europa, Riaño , Saldaña , Buitrago and Madrid .

The motion picture was well directed by Enrique Gabriel. It won various prizes and nominations , such as : Silver Condor Best Supporting Actor , Héctor Alterio ; Málaga Spanish Film Festival 1999 Winner Best Actress Asunción Balaguer Winner , Best Director Enrique Gabriel Winner Best Film , Sant Jordi Awards 2000 Winner Sant Jordi Best Spanish Actress Asunción Balague Tied with María Galiana for Solas (1999) and Nominee Argentinean Film Critics Association Awards 2001. This Argentine filmmaker Enrique Gabriel studied literature in Paris and later worked as a movie-maker in Spain. First an assistant-director, he got into filmmaking as of 1991 with Krapatchouk (1992), which earned him awards at the Verone, Karlovy Vary and Punta del Este International Film Festivals. In 1994, he founded his own production company, A. T. P. I. P. Another festival favorite was his next film, En la puta calle (1997) (Putain de rue), a humorous account of life in the streets, a nice mix of naturalism and heartfelt humanity. His next effort was this attractive Las huellas borradas (1999) . After a seven year hiatus, Enrique was back with an apparently lighter work, Suspiros del corazón (2006), but this modern Don Quixote tale is more profound than it seems to be. Las huellas borradas (1999) rating : 6.5/10 . Worthwhile watching .

This Argentinian-Spanish coproduction is interesting, to say the least, for several sociological and historical reasons, as well as the story per se.

The years roll by, and almost without noticing it, things change, the world advances, maybe it even progresses in some aspects; with the result that one finds oneself with the tables turned. Back in the 1930s and 1940s hundreds of thousands of Spanish people emigrated to the Americas – above all to Argentina, Chile and Mexico. Today thousands of Subsaharans try to cross the narrow channel of water that separates the south of Spain from Africa. Today many Argentinians wish they were living somewhere else: the country is bankrupt.

Over 40.000 Riojans emigrated to Argentina and Chile – and this is one of the smallest provinces in Spain, with barely a quarter of a million inhabitants. Today, in the villages high up in the Sierras, I sometimes see these people, returning to their birth-town for one last look before they die. Their eyes glisten with saddening nostalgia as they remember this or that, and who went to Barcelona or Madrid, and whose grandchildren are now herding cows and pasturing sheep; or they see the ruins of what had been a proud stone-built house belonging to a family who dispersed to different far-flung corners of the planet, such that today it does not belong to anyone. Big bare beams hang out ghost-like defying gravity; the floors have long since fallen into a pile of rubble overgrown with thistles and brambles …….

Such is the scene for this film: now old, he returns to his birthtown, called `Higueras' (Fig-trees) in the film, but is in fact the town of Riaño high up in the Sierras of León. This town was to be (and now is) flooded by the gigantic new reservoir.

Federico Luppi plays his part of the old man with his usual noble style, sharing those nostalgic memories with the townspeople now preparing to leave. As one elderly neighbour exclaims: `what can you do in Madrid with 80,000 pesetas (less than $500)?' The new reservoir may represent progress for some, but there are other kinds of impacts to be taken into account.

This film explores a few of these problems rather well, and thus makes it an interesting film for the viewer who is able to discern the necessary historical background, as well as the evident sociological feelings, expressed in crude rural language. From my own knowledge I can name more than 20 villages which have disappeared under the waters of progress, about 8 of them alone in this province of northern Spain. Try to see Federico Luppi in `Martin (Hache)' (qv). An exceptional film.

In a subtle performance, veteran actor Federico Luppi portrays Manuel, a poet returning to his tiny hamlet after years spent abroad.

This film examines the relationships of Manuel, his family and his friends set against the backdrop of the imminent destruction of Higuera, which is to be flooded by a reservoir.

This film was directed by a master hand, Enrique Gabriel-Lipschutz, based on a script by himself and Lucia Lipschutz. They are wonderfully able at creating side characters who are real and vital, and who neither descend into stock characters nor parody.

In sum, "Las Huellas Borradas" (literal translation: Washed-Away Footprints) presents a philosophical view on how the notion of place can affect one's thoughts and emotions.