Septembre sans attendre

The story. A couple wants to break up and throw a party to celebrate.

The film. The man suggests the party. They tell a friend. They tell his mother. They tell other friends. They tell the plumber. They tell her father. Dad suggests reading Kierkegaard's 'The Repetition'. So that's where the idea for this film comes from? There's no explanation, no quotes. No improvement. The man used to say interesting things, like: 'Life can only be understood backwards, but it must be lived forwards'. That last one is true, but I don't know if understand is the right word. In retrospect, you can see where it went wrong. Like when I decided to go see this film because there used to be good Spanish films. Not this one.

Also in the film: Alex receives a package for Ava. Ava walks around in her pajamas from the package. They visit an apartment for when they're apart.

Also in the film: Ava teaches English. Ava is working on a film, this film. They decide to turn down the volume of the music. There is a screening of her film that we don't get to see.

They go to the father who made paella. And some other similar boring episodes from a failed life that don't belong in a film, but in everyday life. You go to a movie to ESCAPE everyday life, not to see more of it on the screen. The sink is clogged. This is not great cinema. Another one for down the drain. Lousy!

The movie piqued my interest after having watched the trailer. After nearly two hours runtime which felt like three I know nearly as much as after having watched the trailer.

Summa summarum it felt like this: Someone had an interesting idea to make a movie but did not know how to develop it into an actual plot. Instead, the movie keeps exploring in circles again and again and again how to develop that idea only to basically find out that it does not work. No, this is not a comedy. There is a lot of repetition and randomness.

Someone else already pointed out that this film-in-film technique used at times is also abandoned without any resolution. Hence, it appears that the movie was made to make fun of itself and the intellectual cultural elites that try to see more in it than there actually is.

Or there was so much post-editing that the movie was totally distorted.

Positive aspects are the very good actors and the filming locations.

Maybe this could have worked much better as a short movie.

This movie was very tedious to watch. The same scene played our time and time again where they claim everything is fine to everyone they invite to the party. Both characters work in movies which doesn't break the 4th wall but instead makes following the chronology very difficult because there are scenes where they confess live for each other but it's not real. All the people they invite are acquaintances because nobody talks to them like friends would. And the crazy thing is that nobody opposed their ridiculous plan. The movie watches like a low budget student film with some scenic shots and a shallow plot. There is no character growth and since the situation is unusual there are no characters to sympathize with.

"Volveréis" is a clear example of Jonás Trueba's unique style, where he showcases his ability to capture the nuances of human emotions and the complexities of interpersonal relationships. The film, with its delicate and melancholic tone, explores love, heartbreak, and the decisions that shape our lives, all through a screenplay that blends moments of profound reflection with subtle touches of humor.

The narrative revolves around characters whose authenticity forms the heart of the film. Trueba makes his protagonists feel alive and relatable, allowing the audience to connect with them on a personal level. Through natural and carefully crafted dialogues, Volveréis delves into the contradictions and desires of its characters as they confront the realities of love and the passage of time.

Visually, the movie is a treat. Trueba uses the Madrid setting to create an emotional landscape that perfectly frames the characters' experiences. The constantly moving camera enhances the sense of immediacy and everyday life that defines his work. Furthermore, the production design and soundtrack complement the introspective tone of the film, immersing the audience in an intimate and engaging atmosphere.

One of the standout features of Volveréis is its ability to balance the lightness of a romantic comedy with the depth of existential reflection. Trueba doesn't settle for a superficial treatment of its themes; instead, he crafts a rich cinematic experience full of layers and meaning. Cultural references and self-awareness, so present in his work, add extra dimensions for viewers willing to explore them.

While some might argue that the film's slow pace and introspective focus might not appeal to everyone, it is precisely this cadence that allows Volveréis to stand out as a work that prioritizes quality over immediacy. Trueba takes his time to build moments, letting emotions flow naturally and sincerely.

Ultimately, Volveréis is a testament to Jonás Trueba's talent as a storyteller and filmmaker. It is a film that sensitively captures the essence of human relationships, leaving a lasting impression on those willing to embrace its rhythm and depth. A must-watch for fans of introspective and emotionally resonant cinema.

"Volveréis" (the original title in Spanish) is a very unconventional movie whose characters don't want to make a fuss about their separation as a couple and therefore decide to take it all "the other way around" by organizing a joyful divorce party on the very first day of autumn.

While Ale and Alex seem to await this new season with some sort of expectation for their new life, the whole society (friends, family, work colleagues) puts up a resistance they were not expecting until they eventually doubt over this split up they were pretty sure of.

To turn a new leaf or to return to what they have always known and loved, that is the question the film will try to sort out.

First of all, the film features two fantastic actors, very accurate in their interpretation of a middle class couple in Madrid. Secondly I would say this film is undiscutably witty in its content but also in its direction with many echos to Jonas Truebas's (the director) life but also to philosophical issues. It will provide the spectator a revolutionary take on the couple as it turns the mores and stereotypes of a break-up with humor and optimism.

More precisely, it's an anthem to dialogue, to love, to respect. It's a modern tale about love, a modern point of you towards a break-up. In fact, its main characters barely ever fight or argue. The two of them respect each other at every step of their thinking despite the doubts that rise along and that are everywhere: in one look, one word , a specific place in Madrid or in one take.

This movie tackles the uncertainty, the sensation of being at a turning point of one's life . It also brings diferent shades of thoughts towards friendship, family and the "social pressure" felt in these occasions.

A complex thinking summed up in one simple sentence : "Volveréis".

Like a statement: For sure, you'll get back together Or like a question: Aren't you going to get back together after all?

Two appreciations of one reality. Just like the verb "volver" which has two meanings: to turn (a leaf) or to return (go back).

Jonàs Trueba (the director), a smart and gifted director of the new Spanish generation delivers a reflexive movie which in fact has a lot of himself in it: like being in the film industry for some time (he's the son of Fernando Trueba a very famous Spanish director and the main characters are also in the cinema industry), about the middle-age crisis (I believe he's in his forties) and about being in a relationship after 15 years .

There are many references to Bergman, to Truffaut in his direction but also winks to his father (director himself) who happens to be a key character in this film as he's the father of Ale (the girl) but also the "father" of the (freaky) idea of celebrating separations!

This film is rare because it overflows with sincerity and it plays with its spectators. For instance, you can tell that Jonàs Trueba shares "out loud" so to speak with us his thinking over the relevance of his film during the edit of the film that the main characters struggle to finish just like their relationship they struggle to put to an end to ! Or when Alex (the other main character) is rehearsing one of his last chance of getting a job as an actor by making a declaration of love to Ale with whom he's trying to split !

There are echos of the past, reflections of their love story everywhere and at any time but also echos of Jonàs Trueba's life, or Jonas Trueba's cinematography.

To the question: are you happy ? One answers yes and the other says no, but both seem to regret their answer right after prononcing it !

This melancholic tone matches with the turning point they are living, this puzzling moment of their lives, as they must turn over a new leaf, start a new chapter, begin a new season exactly like this rather sad, uncertain and ending summer in Madrid.

Little by little, and thanks to the characters' personal journey, we understand that life is like editing a film, and everything could be turned upside down: the beginning can become and end, a seeming end could mean a new beginning, and ending summer can become a bright new fall, and with one's decision it can be all the other way around.

A beautiful, sometimes funny, constantly witty film, with lots of winks. I recommend !