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An enjoyable dramedy that blends amusement and brief drama , as well as a funny script full light humor, entertainment , and exciting situations. Manuela (Gloria Muñoz) and Rosario (Elena Irureta), estranged sisters due to a family secret, so the two elderly sisters who do not speak to each other due to past quarrels. The housewives of the two's children, Trini and Milagros (Pepa Aniorte and Carmen Flores) will be involved in a possible reconciliation between both sisters. The link will be their respective grandchildren, who will become friends without knowing who the hell the other person is and relying only on one criterion: they want to play each other.
A simple and slight film in Almodovarian style about the enmity of two grandmothers and two maids who try to resolve the complicated situation resulting in more and more entanglements for everyone involved until a final twist. They reunite when the caretakers of their grandchildren's, allowed the kids to meet. Upon learning of the conflict, they try to reconcile the families in a quirky, loving manner. The connection between both families is finely shown and well paced. The message is really simplified, and can at times be both too obvious and too genuine. This drama with humor touches is driven by a very good idea: analyzing the world of adults from the eyes of a child. Children do not know resentment or prolonged anger, so their games and treatment ridicule any past quarrel that adults may have.
In her second film, Díaz demonstrates great mastery of tone, alternating with sense and wisdom the comic moments with the dramatic ones, knowing when to use her best moments with the terrific actresses: Elena Irureta, Gloria Muñoz, Carmen Flores, Pepa Aniorte and special mention for the hilarious Carmen Flores and how to show that the audience is happy. They were accompanied by other good actors giving agreeable interpretations, such as: Ricard Farré, Maria Alfonsa Rosso, Bárbara Santa-Cruz, and special apperance from Inma Cuesta, here in a secondary but important role.
Pretty good work of its leading quartet, as well as the nice and not at all stilted messages of the film. Wanting to distance itself from any type of ideology, Díaz's film shows in a tremendously organic way problems and vicissitudes that occur today, without any malice, with a look as pure as the perspective of a child.
'Los Buenos modales' or 'Good manners' finds two fundamental pillars in its demands. On the one hand, it tries to dignify the work of housewives, as hidden as it is reclaimable, with tasks that extend beyond the borders of the home. On the other hand, it raises a warning cry about loneliness in the elderly. Those grandmothers and grandfathers who have given everything for their descendants, who have gone out of their way, and who in return only receive calls when they need money, food, or to pick up the children.
Marta Díaz's second film by Lope Díaz falls into commonplaces but finds a melting pot in the wonderful quartet of leading actresses. The motion picture was well written/ directed by Marta Díaz de Lope Díaz who shows signs of good work in several scenes, especially at the end of the film. Marta directs with verve and good workmanship in the shooting, showing a parallel montage that that takes the viewer by providing interes enough, even if it is not a notable film. In 'costumbrismo' -both formal and conceptual- the ideal channel to show and develop all her ideas. The comedy of the dialogues is supported by a naturalness and a chemistry that easily crosses the screen and permeates and elevates a story that, otherwise, would have suffered dangerously. It was her second one and film debut was ¨Los Inocentes¨ and formerly directed Shorts as ¨Los pestiños de mamá¨, ¨Y otro año, perdices¨ and the multi-awarded film ¨Mi querida cofradía¨(2018 with prizes as ASECAN Award Best Production Manager David González , Nominee Award Best Supporting Performance Manuel Morón , Best First Work Marta Díaz de Lope Díaz,Barcelona-Sant Jordi International Film Festival 2018 Winner Audience Award Best Comedy and Feroz awards . And this¨Los buenos modales¨rating: 5.5/10.
A simple and slight film in Almodovarian style about the enmity of two grandmothers and two maids who try to resolve the complicated situation resulting in more and more entanglements for everyone involved until a final twist. They reunite when the caretakers of their grandchildren's, allowed the kids to meet. Upon learning of the conflict, they try to reconcile the families in a quirky, loving manner. The connection between both families is finely shown and well paced. The message is really simplified, and can at times be both too obvious and too genuine. This drama with humor touches is driven by a very good idea: analyzing the world of adults from the eyes of a child. Children do not know resentment or prolonged anger, so their games and treatment ridicule any past quarrel that adults may have.
In her second film, Díaz demonstrates great mastery of tone, alternating with sense and wisdom the comic moments with the dramatic ones, knowing when to use her best moments with the terrific actresses: Elena Irureta, Gloria Muñoz, Carmen Flores, Pepa Aniorte and special mention for the hilarious Carmen Flores and how to show that the audience is happy. They were accompanied by other good actors giving agreeable interpretations, such as: Ricard Farré, Maria Alfonsa Rosso, Bárbara Santa-Cruz, and special apperance from Inma Cuesta, here in a secondary but important role.
Pretty good work of its leading quartet, as well as the nice and not at all stilted messages of the film. Wanting to distance itself from any type of ideology, Díaz's film shows in a tremendously organic way problems and vicissitudes that occur today, without any malice, with a look as pure as the perspective of a child.
'Los Buenos modales' or 'Good manners' finds two fundamental pillars in its demands. On the one hand, it tries to dignify the work of housewives, as hidden as it is reclaimable, with tasks that extend beyond the borders of the home. On the other hand, it raises a warning cry about loneliness in the elderly. Those grandmothers and grandfathers who have given everything for their descendants, who have gone out of their way, and who in return only receive calls when they need money, food, or to pick up the children.
Marta Díaz's second film by Lope Díaz falls into commonplaces but finds a melting pot in the wonderful quartet of leading actresses. The motion picture was well written/ directed by Marta Díaz de Lope Díaz who shows signs of good work in several scenes, especially at the end of the film. Marta directs with verve and good workmanship in the shooting, showing a parallel montage that that takes the viewer by providing interes enough, even if it is not a notable film. In 'costumbrismo' -both formal and conceptual- the ideal channel to show and develop all her ideas. The comedy of the dialogues is supported by a naturalness and a chemistry that easily crosses the screen and permeates and elevates a story that, otherwise, would have suffered dangerously. It was her second one and film debut was ¨Los Inocentes¨ and formerly directed Shorts as ¨Los pestiños de mamá¨, ¨Y otro año, perdices¨ and the multi-awarded film ¨Mi querida cofradía¨(2018 with prizes as ASECAN Award Best Production Manager David González , Nominee Award Best Supporting Performance Manuel Morón , Best First Work Marta Díaz de Lope Díaz,Barcelona-Sant Jordi International Film Festival 2018 Winner Audience Award Best Comedy and Feroz awards . And this¨Los buenos modales¨rating: 5.5/10.