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"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.

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.

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!

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.

Most romantic movies tell the story of the beginnings of relationships: boy meets girl, they fall in love at first sight or gradually, their love goes through all kinds of trials and if the lovers are not separated by fate, the film ends with a wedding or at least with a long kiss. ' Volveréis ' (2024 - the title in the English distribution is 'The Other Way Around') by the Spanish director Jonás Trueba tells about the end of a love story. The film starts from a crazy but interesting idea. What if the end of a marriage was marked by a party? After all, when a couple gets married they don't know exactly what to expect, while when they break up things are much clearer, and if the breakup is amicable, then it's about two new beginnings that can be as promising as the beginning of a marriage. So we have all the makings of a romantic or anti-romantic comedy.

Ale (she) is a film director, Alex (he) is an actor. Even their names are almost identical and at first glance and subsequent glances they seem like an ideal couple. We never find out why they decided to break up after 14 years of living together. We see at the beginning of the film some domestic scenes of a couple's Sunday morning, in which split screens suggest parallel lives rather than lives together, but their only argument we witness is a discussion about a movie. It's together that they decide to break up and organize a divorce party to which they invite their families and friends. We probably shouldn't be so surprised, after all, marriage is an optional institution in that part of the world and perhaps the message of the film was that love survives breakups. Most of the film is filled with meetings with their parents, work colleagues, good friends and neighbors whom they inform of their decision and whom they invite to the party. The reactions are as surprised and varied as those of the viewers who see the film.

The two actors who play the lead roles (Itsaso Arana and Vito Sanz) are excellent. Like everyone around them in the film, the viewers can't help but fall in love with them, regret their breakup and wonder what made them decide to go on separate ways. The main problem with 'Volveréis' is repetition. At one point, there's even a discussion between people in the film world about linear films (in which the action progresses and something is always happening) and circular films (in which the same idea is repeated). 'Volveréis' is a circular film. It starts from an excellent idea, but after the second or third discussion with friends or relatives who are informed of the breakup and are invited to the party, we understand the principle and we keep waiting for something or something else to happen. It doesn't and the ending is also predictable in its very ambiguity. The screenwriters and director try something quite interesting when they seem to adopt the film-in-film format, but this idea is also abandoned. I almost miss, a very rare thing for me, an 'American' ending. It will definitely be added to the remake.