La isla minima

Rodriguez's movie set in the Guadalquivir marshland and rural Sevilla when Spain's democracy was at its infancy is poetic and artistic, yet if flows fluidly. Its 10 awards -including Best Photography- at the Goya 2015 edition are well deserved, and it establishes Alberto Rodríguez as a director to look out for. Gutierrez's (Juan) and Arevalo's (Pedro) interpretations are powerful and convincing. Juan is an ambiguous and complex character, though I found certain aspects of his personality and biography (or rather, their combination) a bit artificial. The gist of the plot reminded me of a famous crime which took place in a Valencia village in the early 90s, but I doubt that was Rodriguez's and Cobo's intention. Apparently they wrote the script some 10 years ago, but only recently they thought of setting the action in the early 80s (from what I gathered, before the attempted coup and the socialists' victory). Although I would have preferred the end to shed a bit more light on a couple of things, this thriller is gripping, well-structured, well-interpreted (kudos also to Nerea Barros) and entertaining throughout. Excellent music and photography, too.

2014 is being a fantastic year for Spanish movies. Critics and viewers are supporting made in Spain movies that are shown month by month. La isla mínima is a very remarkable film whose highlights are the plot, the narrative structure, the characters, the beautiful locations, the way that information is given to the viewers, and the rain that falls and envelopes everything around a small southern village in the late 80s. Leading role Javier Gutierrez has been awarded as best actor in San Sebastian film festival, but my favorite one is Raul Arevalo, his disturbing look to everybody, and how he tries to introduce different investigation procedures and different ways of thinking in a society that is still stuck in the past. Highly recommended.

The time is the early eighties. Two detectives, a good-cop (Pedro) bad-cop (Juan) pairing, are sent to a remote region in Spain to investigate the disappearance of teenage sisters. They uncover a series of brutal murders that the tight-knit community may be complicit in. Set in a Spain slowly emerging from Franco's shadow, Marshland has a wonderfully political noir-ish tone. Opening with birds-eye shots of an other-worldy landscape, that the camera often returns to, the futility and inhumanity of the toils that take place on the ground is constantly invoked by the judicious shot choice. Pedro and Juan have personal concerns beyond the investigation. Pedro's wife is pregnant and not always trusting of him in their separation. Juan has failing health and may not be long for this world. They bring their past as well as their present: Juan was in Franco's Gestapo and may have carried out atrocities, Pedro is being punished for open criticism of the military. They deal with these issues as best they can while navigating local resistance to their investigation and their own wary sense of each other. The characters, setting, tone and pace are all compelling, and the overhead shots add wonder and mystery. There are hints of Mississippi Burning here, and also True Detective and Chinatown - a local oligarch seems amoral and ultimately goes unpunished. But the film wears these influences lightly and portrays its own authentic, self-contained world. This is a stylish thriller that comfortably meshes plot, politics and personal concerns.

Marshland is slow burn, albeit entertaining and intriguing police procedural that takes place in a rural Spain during 1980. In addition to this police investigation we have an interesting character study, as we get to know the two detectives Pedro and Juan. The photography in particular is splendid. There was something very trance like feel in this movie, especially the weather n the locations. The music too was good. I enjoyed true detective the mini series. Marshland comes very close to true detective. Also while watching this film, memories of murder came to my mind. The Superb photography, memorable acting, music that asks questions, simmering political undertones. The cinematography was excellent. Certain scenes looked like painting. I highly recommend this to fans of true detective, memories of murder, prisoners and the abandoned (2006).

Marshland is what you would call a slow burn, as there isn't a ton of action, nor is it fast paced. However, it is an entertaining and intriguing police procedural that takes place in a rural town in the south of Spain during 1980. The effects of the Franco dictatorship still muddy the waters; we see his name spray-painted on walls, while his influence still reverberates with many people in the town. The political climate of the region is what separates this film from any number of murder mystery/police procedure films. We see and hear about many workers' strikes and how they are effecting the small town. Politics hang over the entire case from beginning to end, constantly providing obstacles, giving the film its own identity.

Solving a murder case in a Spaniard rural town in 1980 is one mighty challenge. Those wanted by the police are hard to find within the marshlands of the area, presenting another barrier for normal police work. I'm guessing that is where the name came from. This is the type of challenge that detectives Juan (Javier Gutiérrez) and Pedro (Raúl Arévalo) are facing. While investigating the death and mutilation of two girls found in a swamp, they find out that they are dealing with a serial killer. Two other girls lost their lives in similar ways, on almost the same dates, in both 1978 and 1979. Complicating matters is the fact that the two detectives beliefs and ideals seem to be polar opposites. They do indeed butt heads on occasion, but for the most part, both stay loyal to their partner. However, their differences make each encounter with suspects or witnesses interesting, as we see how each man handles certain incidents.

In addition to this police investigation we have an interesting character study, as we get to know both Pedro and Juan. They are brought together as partners because, while working in Madrid, Pedro wrote an angry letter to a newspaper about the government. He is later told 'this country isn't used to Democracy yet' and that he can't mouth off about the government. Pedro of course sees it in another way. His punishment, for writing a letter, was a transfer to a rural town that everyone wants to leave, according to the locals, and we never quite know what his motives are. He wants to solve the case, of course, but is he emotionally interested? Or does he just want a ticket back to Madrid and the comforts, including his family, which will be waiting for him? He seems annoyed that he has been shuttled off to a rural town, but as the case moves forward his passion rises and soon he will seemingly do anything to catch the killer.

Juan is the complete opposite of Pedro. While Pedro maintains his composure for most of the film, Juan loses his cool several times with suspects, threatening and harming them to get information, as if he were policing for the old world: Spain before it became a democracy. This casts a shadow over his character, as we doubt whether his motives are pure. He is also the more persuasive of the two, whether with suspects or with his own partner, he seems to enjoy manipulating people for his own pleasure. It also becomes obvious that he is not a happy man, he is in pain, and we hear nothing about his family. He displays a nonchalant attitude towards the case initially, but as it progresses his actions speak loudly.

Both characters have great arcs that are three-dimensional and complex.

The setting is well recognised, as the cars, haircuts and mustaches certainly point to the late 70's/early 80's. Also worth mentioning is the sublime photography. Not only is the entire movie immaculately captured, especially one scene where the camera tracks Pedro racing after a potential suspect, but what will stick in your mind is the amazing aerial shots. These images help to put the murder case in perspective to the problems the entire country is suffering from. This top-down aerial photography is most prevalent – and incredible – during the starting credits of the film. As a subtle bass line plays under soft acoustic guitars, we see the marshes of Andaluci. They look stunning, and the marshes serve as the perfect setting for majority of the movie to take place.

If you enjoy murder mysteries, Marshland is highly recommended as the Spanish flavour and its political undertones make this film stand out from others in the genre. Even if the genre isn't your cup of tea, Marshland is still worth a watch thanks to its rich characters and the political backdrop of Spain in 1980.