16/10/2014 Press

Pedro Almodóvar & MAGICAL GIRL

Magical Vermut

The same feeling stroke me before with Victor Erice and Ivàn Zulueta, and now again with Carlos Vermut and his “Magical Girl”. Each of them made second films (El Sur for Erice and Arrebato for Zulueta) that are true masterpieces. Films that get better and better over the years for the first two, and over hours and days for Carlos Vermut’s. There would be much to say about “Magical Girl”, and this is just a short note. First, congratulations for the two well-deserved awards received in San Sebastian. Vermut completely masters the unusual art of the ellipse (characters and storylines evolve together, resulting in a narrative full of twists that gives the impression of a lineal story when it’s actually the opposite).

He is a brilliant actors’ director and all of them are outstanding, with a special mention to Bàrbara Lennie. As a screenwriter, Vermut surprises at every sequence, with deep and unexpected twists. In the last part, he gets you to think that nothing can come out of his hat anymore. In fact, twenty minutes before the end of the film, I felt like the story was coming to a dead end, as it seemed impossible to compete with the previous part. And yet, he brilliantly succeeds. He manages to surprize again, and even to conclude, which is the most difficult. I’m referring to the last narrative fragment, irradiated by Pepe Sacristàn. The third act performed by the Spanish actor is also the best of his career. I sincerely hope that the public will do justice to Magical Girl, which for me is the great Spanish cinema revelation of this beginning century. You won’t get to see much advertising on TV, because there is no budget to promote this gem, which will be released on the same day as Relatos Salvajes. But I fiercely recommend both of them.  

Pedro Almodóvar.