Benito Zambrano's sincere, subtle and sublime 'Solas' tells a story of human dilemma and fragile relationships. The centre of the film are its key characters, Rosa (María Galiana), her daughter María (Ana Fernández) and her neighbour (Carlos Álvarez-Nóvoa) and their struggle with loneliness. All three are broken people. Rosa and María's lives have been fractured by their abusive father. The neighbour's life is fractured by his very loneliness. As their interactions build, no matter how they try to avoid not being alone, a bond develops. Themes of motherhood, abuse, abortion and oldage are presented but never exaggerated or preached.
The description sounds familiar but Zambrano gives it a unique treatment especially through his characters. María may not be much of a talker at work. She finds distraction in alcohol and sex and otherwise she lashes out. Rosa in contrast is quiet and mostly keeps to herself but she's a gentle person who is kind enough to offers help. The neighbour obviously enjoys Rosa's company in his otherwise lonesome life and he looks forward to their meetings.
The sets and locations are simplistic but efficient. The cinematography and score are also used efficiently contributing to the flow rather than intruding. The dialogues too are simple but very well layered, especially in the way the actors deliver them. María Galiana is excellently restrained. Her silence has a strong voice and her minimal expressions convey plenty. Ana Fernández plays her part with equal conviction. She wonderfully highlights the differences between Rosa and María. Equally outstanding is Carlos Álvarez-Nóvoa as the lonely neighbour, the kind of man people often see as 'just an old man' and then forget about as he goes back to his lonely apartment.
Lastly, Zambrano ends 'Solas' beautifully. I will not reveal this because the whole story leads up to it in a subtle and lyrical manner that the effect of it will be lost if I said a word more.
The description sounds familiar but Zambrano gives it a unique treatment especially through his characters. María may not be much of a talker at work. She finds distraction in alcohol and sex and otherwise she lashes out. Rosa in contrast is quiet and mostly keeps to herself but she's a gentle person who is kind enough to offers help. The neighbour obviously enjoys Rosa's company in his otherwise lonesome life and he looks forward to their meetings.
The sets and locations are simplistic but efficient. The cinematography and score are also used efficiently contributing to the flow rather than intruding. The dialogues too are simple but very well layered, especially in the way the actors deliver them. María Galiana is excellently restrained. Her silence has a strong voice and her minimal expressions convey plenty. Ana Fernández plays her part with equal conviction. She wonderfully highlights the differences between Rosa and María. Equally outstanding is Carlos Álvarez-Nóvoa as the lonely neighbour, the kind of man people often see as 'just an old man' and then forget about as he goes back to his lonely apartment.
Lastly, Zambrano ends 'Solas' beautifully. I will not reveal this because the whole story leads up to it in a subtle and lyrical manner that the effect of it will be lost if I said a word more.