El mar

I had decided to watch EL MAR as a tribute to its director, Agustí Villaronga, who died on the 22nd/January/2023. I was expecting a kind of romantic gay movie, but what I saw was a terrible story of young men tortured by facts that happened when they were kids, devoured by their inner demons and very hurt by their past experiences. I don't want to spoil what's a very sophistecate story, but I warn you that it is not an easy movie to watch.

Too much blood and male nudity. Most of the dialogs are not natural coming from young minds. The acting is very good and the casting perfect, the actors are very handsome, even the locations are very well chosen, but it's not recommended for the weak at heart.

EL MAR is a tough, stark, utterly brilliant, brave work of cinematic art. Director Agustí Villaronga, with an adaptation by Antoni Aloy and Biel Mesquida of Blai Bonet's novel, has created a film that traces the profound effects of war on the minds of children and how that exposure wrecks havoc on adult lives. And though the focus is on war's heinous tattoo on children, the transference to like effects on soldiers and citizens of adult age is clear. This film becomes one of the finest anti-war documents without resorting to pamphleteering: the end result has far greater impact because of its inherent story following children's march toward adulthood.

A small group of children are shown in the Spanish Civil War of Spain, threatened with blackouts and invasive nighttime slaughtering of citizens. Ramala (Nilo Mur), Tur (David Lozano), Julia (Sergi Moreno), and Francisca (Victoria Verger) witness the terror of the assassination of men, and the revenge that drives one of them to murder and suicide. These wide-eyed children become adults, carrying all of the psychic disease and trauma repressed in their minds.

We then encounter the three who survive into adulthood where they are all confined to a tuberculosis sanitarium. Ramala (Roger Casamajor) has survived as a male prostitute, protected by his 'john' Morell (Juli Mira), and has kept his life style private. Tur (Bruno Bergonzini) has become a frail sexually repressed gay male whose cover is his commitment to Catholicism and the blur of delusional self-mutilation/crucifixion. Francisca (Antònia Torrens) has become a nun and serves the patients in the sanitarium. The three are re-joined by their environment in the sanitarium and slowly each reveals the scars of their childhood experiences with war. Tur longs for Ramala's love, Ramala longs to be free from his Morell, and Francisca must face her own internal needs covered by her white nun's habit.

The setting of the sanitarium provides a graphic plane where the thin thread between life and death, between lust and love, and between devotion and destruction is played out. To detail more would destroy the impact of the film on the individual viewer, but suffice it to say that graphic sex and full nudity are involved (in some of the most stunningly raw footage yet captured on film) and the viewer should be prepared to witness every form of brutality imaginable. For this viewer these scenes are of utmost importance and Director Villaronga is to be applauded for his perseverance and bravery in making this story so intense. The actors, both as children and as adults, are splendid: Roger Cassamoor, Bruno Bergonzini and Antònia Torrens are especially fine in inordinately difficult roles. The cinematography by Jaime Peracaula and the haunting musical score by Javier Navarrete serve the director's vision. A tough film, this, but one highly recommended to those who are unafraid to face the horrors of war and its aftermath. In Spanish with English subtitles.

Grady Harp

This film is, in short, a cinematic masterpiece. The film is moved along brilliantly by intense images that deeply move the sensitive viewer. The film opens during the Spanish Civil War as a group of children seek their revenge on another child. In fact, they are acting out in their world a version of what they have witnessed in the adult world around them. Later we meet three of these children again as adults at a sanatorium. Here we see what life has wrought on each of them. One is a reclusive sexually repressed patient. Another man is a hustler who has become ill. The third child, a young lady, has become a nun and is serving at the sanatorium. This film is an allegory about the effect of violence on the psyche.

This film has a climax that is definitely not for the squeamish members of the viewing audience but it is logical as well as profoundly moving. The acting is excellent and the script is quite well written. There is a musical score that provides an undercurrent of dread throughout this film. This is not a film for thrill seekers but a film for a thoughtful audience.

There is not much to add that won't echo what has been written here before me. This film is a brooding, creeping powerhouse of guilt and loss, brilliantly directed with intimate character-driven screenwriting that dares you to resist getting sucked into its vortex of spiritual agony. Villaronga is a genius and a true one-of-a-kind. Unfortunately, it doesn't seem likely that a US distributor will be taking the gamble on this one any time soon, so those of is in North America are at least temporarily at a loss. A British DVD is currently available with English subtitles. See this film any way you can.

I went to see that movie without knowing absolutely anything and I was surprised to realise that i was seeing an unusual movie. Good interpretations, script and great direction. Maybe a little bit of less explicit blood could be made a delicious film. A detail; this film is made originally in Catalan ( a language talked in some parts of Spain ), and filmed in Mallorca (where Michael Douglas has a house). Well, the Catalan talked in this island is so different than the Catalan in Barcelona that in the cinema that i went, the dialogue was subtitled (also in Catalan) to make it understandable!!!