Amador and Marcela's roses

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Movie
German title Amador and Marcela's roses
Original title Amador
Country of production Spain
original language Spanish
Publishing year 2010
length 109 minutes
Age rating FSK 6
Rod
Director Fernando León de Aranoa
script Fernando León de Aranoa
production Fernando León de Aranoa
Jaume Roures
music Lucio Godoy
camera Ramiro Civita
cut Nacho Ruiz Capillas
occupation

Amador and Marcelas Rosen is a 2010 Spanish drama film directed by Fernando León de Aranoa .

action

Nelson is a Bolivian rose seller in Spain who struggles to stay afloat. His big dream is to have his own flower shop, which he wants to name after his girlfriend "Marcelas Rosen". Marcela is a quiet, calm woman who, however, wants to part with him. She wrote him a suicide note, which she tore up a few hours later after finding out that she was pregnant. With a heavy heart, she decides to stay with Nelson without telling him about the pregnancy. Nelson doesn't realize how unhappy Marcela is because he takes her for granted in his life.

Since they need a new refrigerator, Marcela takes a low-paid job. Yolanda employs her to look after her father, Amador, who needs care, because she and her husband cannot find time for him. Amador, who is a bit grouchy at first, increasingly takes pleasure in Marcela's presence. Marcela also feels more and more comfortable in his presence. For example, they talk about the puzzle that Amador has begun , from which she has nothing to learn, about the labor market situation and many everyday events. One day, he confronts her with finding that she is pregnant. Because she trusts him, she doesn't deny it either. Amador puts his hand on Marcela's stomach and addresses a few words to the unborn child. There is still no place for it in this world, but soon, because it will be leaving in the foreseeable future. Marcela, on the other hand, enjoys Amador's trust as she hides his weekly visits to the prostitute Puri from his daughter.

However, everything changes when Amador dies. For fear of not receiving her wages, she hides his death, goes about her daily work, decorates the room with roses and comes up with a few stories for Yolanda. But over time, this decision puts her under extreme pressure. When one day Puri is at the door again, she confesses everything to her. Puri tries to help her in the future and both become friends.

After Yolanda calls more and more often and a neighbor also becomes suspicious, she finds traces in the apartment that indicate that someone was there. She desperately tries to take her own life with an overdose of Amador's medication, but is saved in time by Puri. When she wants to go back to Amador's apartment the next day, she sees the open door and Yolanda and her husband standing in it. Horrified, she turns around and sits down in the café opposite. Yolanda sits down a little later and tells her about financial difficulties, in which her father's pension is very helpful. So she asks Marcela to do her job a few months longer and keep the dead Amador company.

A few weeks later, she decided to leave Nelson and left her suicide note as a puzzle. She is sitting on a park bench with Puri. When Puris asks if she already has a name for the child, Marcela nods and smiles.

criticism

“Bitter-tender drama that tells sensitive, but unadorned hard, of the silent emancipation of a woman and the complicated facets of her existence. Behind the brittle shell of the drama hides a film full of mischievous lacony and mystical poetry. "

- Lexicon of international film

“It combines social commentary, dry black comedy and the distress of conscience of a deeply religious Catholic woman in a subtle way. The camera of these "lies and secrets" translates Marcela's thoughts into images, while de Aranoa's script finds stylish metaphors for someone who is inwardly agitated waiting to pour out his heart and laboriously piece together the puzzle of life. When Amador and Marcela ponder existence, it is poetry, in contrast to the profane, unimaginative Nelson. Amador's address to her unborn child can safely be described as one of the most poignant moments of the cinema year in this Arthaus flower of the most beautiful kind. "

- Kino.de

Web links

Individual evidence

  1. ↑ Amador and Marcela's roses. In: Lexicon of International Films . Film service , accessed March 2, 2017 .Template: LdiF / Maintenance / Access used 
  2. ↑ Critique of kino.de