As a proud Portuguese, it's with a touch of envy that I've seen the excellent work being done in Spanish cinema. With envy, and also with a notebook in hand: Spain is an excellent example of what European cinema should be, and that it's perfectly possible to make great films without the multimillion-dollar apparatus of Hollywood. Unfortunately, in Portugal, in addition to the chronic lack of funding and support, whether public or private, filmmakers continue to think small, dedicating their time and talent to projects that are either too intellectual to deserve public attention or, conversely, so stupid that they insult the intelligence of every viewer with more than a minimum compulsory education.
I decided to watch this film without knowing it was Spanish, but convinced by its synopsis, with a dramatic story about a high-class prostitute and her wealthy client, who becomes obsessed with her without knowing anything about her or her past while hiding his own secrets and lies. Who is Diana, after all? It was worth finding out, and that's exactly what I did! I'm glad I dedicated my time to this work: it's a simple and inexpensive film, which could easily have been the product of a group of young film students, but which delivers a perfectly polished work, made with great commitment from everyone involved.
This was, indeed, the first feature film by Alejo Moreno, who could become a promising figure in Spanish cinema if he continues working at this level. He crafted the script and the story very well, allowing the suspense to gradually build as the two characters becomes involved and begin to develop an erotic connection, punctually interrupted by tense moments in which they seem to be exploring territory and figuring out how to connect to one another. It's not a fluid process; they're not a couple; the situation is deeply embarrassing for both of them, and the film explores this extensively to convince us that something isn't right and is going to go wrong. The dialogue is quite crude, but I felt the characters demanded it, and Moreno understood the need for realism and impact on some lines. The settings and the choice of some props (the paintings, the cheap retro decor...) speak without saying a single word. Oh, and of course, if it's a film about prostitution, there will be sex and erotic scenes, including some not-so-explicit nudity: even exploring something as raw as sex, the elegance and good taste were maintained until the end.
Among the cast, reduced to a minimum, only two names deserve our attention: Jorge Roldan gave a remarkable performance as a man who appears to be very wealthy, but suffers from profound psychological disturbances and a nonexistent personal life, as he has no close family, no partner or children, and barely says a word about himself other than work. He plays wonderfully alongside Ana Rujas, a slender and sexy young up-and-coming actress, who I believe will have no shortage of job offers after a film like this. She's as sensual as a cat in heat, never ceasing to look dangerous, never seeming vulnerable or fragile... quite the opposite. A true femme fatale who deserves praise for her performance in this film.
