Segunda-Feira ao Sol

I give this movie 10 points . The director Fernando de Aranoa investigated and talked with the unemployed people he will later portrayed in his movie. I mean the stories he's telling are for real. The performances by all the actors are magical . Bardem , of course, but all the cast is at the same level . The dialogues are so well written , never sound contrived . One thing it's clear , this movie don't leave you untouched. Fortunately Fernando de Aranoa is always improving as his latest movie "Princesas " shows . Don't miss "Los lunes al sol " it will be worth your time to watch the cast's performance .This movie won several Goyas ( Spanish academy awards ) Very moving picture

No film has ever captured the depression and delight of the ordinary working man as realistically as "Mondays in the Sun". Watching it brought me back to the gray days of growing up when I would see my father's tired face and wonder what joy he can possibly be getting that pulls him through the pressure filled, cold and seemingly endless cycle of working hard day in, day out.

Javier Bardem plays the not-ever-to-be-defeated Santa, a strong-willed, but down on his luck guy who just got laid off from a comfortable job at a shipyard. He takes refuge in a buddy's bar with all his friends/co-workers who share the same misfortune. On top of all the problems anchoring him down, Santa must pay a hefty fine for destroying a light by the shipyard. For one week, he tries to run from these injustices and bothers, and he sojourns with his dreams.

What director Fernando Leon de Aranoa understands is that no matter how much joy we can have in a given amount of time, there is always the weight of work and responsibility to come back to. In the dreary life of the working man, things gets so routine that the magic of being young and having dreams is lost and gone forever. Aranoa's characters are all faced with the joy and bad luck of being unemployed. In this short time of pressure and paradise, they find escape and salvation in what seems like a limbo of meaninglessness. One of the film's best characters is a surreal, random friend of someone in the group who claims he was once an astronaut. By looking into his starry eyes, it is easy for the viewer to understand that this group of people have all found release in dreaming about getting to leave the earth as well.

It may not amount to the world, but I loved "Mondays in the Sun" because it knows the ordinary joys and pains of those struggling in the lower or middle class. What is truly beautiful about this film is how all of the characters seem at their most desperate, but somehow there is the assurance that maybe the light is not out forever.

(3 out of 4)

I watch 'Mondays in the sun' last night and it impressed me really... Sorry guys but I usually prefer European-especially Mediterranean ones- movies much more than Hollywood productions... Like some of the others, there is a simple story there but very sincere and sensitive, that makes you feel deep inside...After watching any movie, I would like to feel the taste for some days...Sometimes you can easily forget what you have watched in several hours, but those kind of movies makes me feel something warm deep inside even it's dramatic athmosphere... Also the soundtrack is wonderful... For me it is a five-star production... Thanks so much for all who made it... (A+)

"Mondays in the Sun" speaks boldly, loudly, and honestly albeit narrowly about the plaintive existence of a group jobless Spanish shipyard workers. What this study of working class men lacks in depth of story it makes up for in depth of character as it moves methodically through bitter, sweet, poignant, and humorous moments with sincerity, honesty, and drenched in masculinity. With high marks from public and critical corners alike, "Mondays in the Sun" will be time well spent for most. (B+)

February, 2001 says the calendar inside the wharf-side bar; Rico splashes out the drinks and his precocious 15 year-old daughter Nata (Aïda Folch) looks on, absorbing the intensity of fiery language: her father's customers are unemployed boat-yard workers, drifters over forty, approaching fifty.

Fernando León de Aranoa, basing himself on the real lay-offs which happened in the boatyards of Gijón (Asturias) ten years earlier, and indeed using footage from newsreports, reconstructed his own story and transferred the proceedings to Vigo (Galicia) in the extreme north-west of Spain. The resulting `Los Lunes al Sol' is a social document portraiting a few men `on the dole' and their sombre outlook, however not lacking in sparkling humour and witty dialogues.

The year 2002 will be remembered as the year of `Hable con Ella' (qv) and `Los Lunes al Sol', a year in which mostly men take first place on the screen, moving the ladies to one side. Heroically, considering Spanish masculine mentality, there is no macho-building exercise in force in either of these two excellent films. The two films have competed head-on at the San Sebastián film festival, as well as in the Spanish Film Academy to be chosen to represent Spain for the Oscars, and so on, and have come out more or less level. If my personal preference is Almodóvar's superb dramatical piece, this in no way deflects from `Lunes al Sol', a magnificent sociological drama which even manages to creep in to certain foibles and other typicalisations without any cheapening effect which would have been detrimental to the telling of the story.

Javier Bardem is superb and magnificently backed up by Luis Tosar and José Angel Egido, and there are no superlatives for Celso Bugallo's lesser but extremely important part as Amador. Joaquín Climent as the bar-owner Rico is absolutely correct, and the Russian Serge Riaboukine is spot on. And the ladies ……….? Well, definitely in secondary roles, but Nieve de Medina as the suffering wife – Ana – working in the sea-food canning plant gives a resounding interpretation, and Laura Domínguez as Angela is fine. But all eyes are fascinated by fifteen year old Aïda Folch as the precocious daughter, who observes all and learns from it, and applies her own methods to reach her own goals. She gets a baby-sitting job, hires `Santa' to do the job for her, so that he pockets 3,000 pesetas (about $20), she keeps 2.000 pesetas as commissions, and hops off to seek out her boyfriend. In her other film, `El Embrujo de Shanghai' (qv), alongside Fernando Tielve, directed by Fernando Trueba, we see she has that natural coquettish way which is going to take her very very far in the world of cinematography. I only hope she stays in Spain to do so, she keeps her beautiful little head well and truly planted on her shoulders, and does not suddenly disappear over the other side of the Atlantic, as so often happens to our prodigies.

You come away from this film feeling that you have barely ever seen a team pull so hard together to make the result work: the film has a significant message to transmit and it had to do so through skillfully worked characteriology driven by dialogues that shift from the retrospective to the witty, through scenes that move from outright funny to downright sad. It works: the Spanish public identify with these `real' characters and natural language replete with non-dictionary spicey terms, as these men live out their empty, frustrating life of unemployment.

Excellent work here by the young director Fernando León de Aranoa: I shall be looking forward to seeing more of his films, and no doubt I shall acquire the video of `Los Lunes al Sol' as soon as it is in the shops.