La spagnola

This is such a bleak and plotless film that unless you are looking for a reason to slit your wrists its probably best avoided. Through a series of brief vignettes in a surreal Australian landscape we are acquainted with Lola and her unfortunate daughter Alice both of whom are destined to be forever betrayed not only by the people they encounter but also by each other. The unrelenting grimness is even reflected in their sexual encounters with a succession of squalid and unsatisfying relationships.

I tried very hard to fall asleep during this movie so that the time would pass more quickly but failed miserably and had to endure it to the end.

"La Spagnola" (literally "The Spanish Woman", in Italian) is a searingly sexy black comedy from "down-under" that explores the dysfunctional relationship between the fiery and beautiful Spaniard, Lola (Lola Marceli in a star-making performance) and her sensitive and lonely daughter, Lucia (the beguiling newcomer Alice Ansara).

There is not a false note in the entire film. Under Steve Jacobs' assured direction, the faultless performances, stunning cinematography, playful musical score and songs, work their surprising and indelible magic upon us.

Anna-Maria Monticelli's achingly funny yet deceptively simple narrative rings with harsh truths about the migrant experience in 60s Australia, and propels this sublime human drama towards a touching conclusion.

"La Spagnola" is firecracker of a film and a sure-fire bet for the next "Best Foreign Film" Oscar.

La Spagnola had a lot of potential but didn't live up to expectations. The plot just was not strong enough. Despite fine acting this was a missed opportunity. It has its heart in the right place but not a lot really happens. Alice Ansara is a real find and is a young actor we will here a lot more from in the future.

The life story of a bitter woman that's despised by his husband and her continuous fight with her only daughter... Though the plot may look like a drama "La Spagnola" is actually a comedy with traces of tragedy. It's rather rude and hysterical and with a coarse sense of humor (just like Almodovar in his early works, but without the transgression of the Spanish director). It has also plenty of topics about Latin women (they're loud, passionate, etc., etc.).

As for the actress that plays the main role, Lola Marceli, it is funny 'cause in Spain he had never taken part on a movie. She had just played some minor roles in soap-operas and stuff, and suddenly they offer her a part in this Australian production. Well, I think he did a nice job, too bad it made no difference for his career, she's still making TV series... How come?? Well, I don't know. There you got actresses like Elena Anaya or Paz Vega that are just dreadful and still they participate in lots of movies. OK, they're younger than Marceli, but definitely they're not more beautiful than her and, above all, they're not as good actresses as she is. Spain is different.

*My rate: 6/10

While the DB reviewers all seem to be unsure of what to make of this film, it does indeed have a growing tradition in style with other Australian quirky movies such as Strictly Ballroom, Priscilla, and the Baz Luhrmann Red Curtain series. The staging, cinematography, execution and editing of shots are quick, colourful and energetically paced.

This allows the bizarre story to unfold, and the characters to develop, with explanations for their motivations being revealed gradually. The genius lies in Anna Maria Monticelli's beautiful script which intelligently begins to unravel events that have already occurred without explanation, all in a comfortable linear format. Such imaginative exposition is rarely given without confusing flashbacks, and is the heart of this film. I found the structure elegantly clarified all of the initially obscure scenes.

The mother Lola never becomes sympathetic, however Lola Marceli's sterling debut convinces the viewer of a person becoming truly disturbed by her transplanted identity as Spanish woman amongst Italians, in an uncaring Australian society, deserted by her husband and scorned by her neglected daughter. Alice Ansara's Lucia cool-as-a-cucumber performance is understated and believable, and all the more commendable for her excellent language skills which define her character, and serve as some of the funniest bits of business as she gently toys with her clients' own lack of linguistics.

And of course Alex Dimitriades yet again demonstrates his smouldering leading man persona which we first saw in 1998's masterful "Head On".

Lourdes Bartolomé's turn as catty sister Manola chews the lush scenery and deftly steals the show, particularly in the dancing and cooking sequence! I might point out that she is most entranced by a courgette (zucchini), rather than a cucumber, as one reviewer has written...