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Director Jonás Trueba captures the spirit of a group of teens in Spain in an empathic, compelling, and moving way. In 2016, Trueba asked the teens to participate in a five-year project, in which they recreated situations from their lives. They talk about their insecurities, wanting to be accepted, loneliness, and what they are supposed to do with their lives. They demonstrate against school privatisation, debate politics and, like many adults, worry about the planet’s future.

Who's.Stopping.Us.2021.720p.WEB-DL.AAC2.0.x264-Fxe.mkv

General
Container:  	Matroska
Runtime: 	3 h 40 min
Size: 	4.82 GiB
Video
Codec: 	x264
Resolution: 	1280x720 
Aspect ratio:  	16:9
Frame rate: 	24.000 fps
Bit rate: 	3 000 kb/s
BPP: 	0.136
Audio
#1:  	Spanish 2.0ch AAC LC @ 128 kb/s

https://nitro.download/view/93AECA8875DB5BE/Who’s.Stopping.Us.2021.720p.WEB-DL.AAC2.0.x264-Fxe.mkv

Language:Spanish
Subtitles:English

The post Jonás Trueba – Quién lo impide AKA Who’s Stopping Us (2021) first appeared on Cinema of the World.

Los ilusos (2013)

The Wishful Thinkers, Jonas Trueba’s virtually home-made follow-up to the altogether less interesting Every Song Talks about Me, is a black and white celebration of open-handed film making as well as of those old chestnuts: art and life. This black and white portrayal of a group of young Spaniards who share an innocent, unconditional love of film has become something of a cult item amongst film literati in Spain with an inevitably lengthy run of festival screenings likely to extend its appeal to those in the know.

An on-screen text opens things by stating that the film will seek to be transparent, which it pretty much achieves. Wannabe scriptwriter Leon (rumple-haired Francesco Carril) lives with wannabe actor Bruno (Vito Sanz) in the center of Madrid, leading the quasi-bohemian lives of twenty-somethings everywhere – pulling all-nighters in bars talking about life, love books and having no money. Early on, we meet the Swiss Lilian (Isabelle Stoffel), who’s decided to return home because there is no work for her in Madrid, but the rest of the characters are indeed wishful thinkers. Perhaps the most entertaining is film bookshop owner Perucho (Luis Miguel Madrid).
A wishful thinker of romance, Leon also strikes up a hesitant relationship with Sofia (the relatively well-known Aura Garrido), and together they explore Madrid by night. Trueba reinvents the capital as a film maker’s city, and many locations will be recognizable to any lover of film who has ever spent even a couple of nights there.
But the film is also shot through with an air of nostalgia for the golden, pre-digital days when, for example, projectionists had a role to play: at one point, Bruno walks out of a screening to complain that the print he’s watching is surely damaged. “It’s Blu-Ray,” the projectionist informs him.
In the main, the actors are playing people like themselves, which gives their dialog, largely improvised anyway, a fresh, unrehearsed quality. What could so easily have become ponderous and pretentious never does, since Trueba seems determined to keep things grounded and lively. Several sequences, including one where Leon means the real-life director Javier Rebollo – a darling of the Spanish arthouse who’s duly adored by Bruno to the extent that he dreams about Rebollo – are laugh-aloud entertaining. Performances are quietly persuasive, their apparent spontaneity underwritten by Santiago Racaj’s (incidentally Rebollo’s regular d.p.) intimate, quasi-documentary and strikingly shadowed camerawork, with only Garrido occasionally coming over as over-stated and theatrical.
Music – including a grungy full-length song by El Hijo – and onscreen text by thinkers and poets including Emily Dickinson – are also thrown into the mix. But Trueba’s eye for the telling image – a slow, long shot of three friends making their early-morning way home across Madrid’s Plaza Mayor is especially evocative – reveal that there is a careful, controlling eye at work. Although there’s no screenwriter or editor credit, things are not as haphazard as they seem.
The Wishful Thinkers is cinema of the self-reflexive kind and viewers are continually reminded by people holding clapperboards and microphones hoving into view that they’re watching a film about its own making. The effect is sometimes wearisome, as are several oh-so-long shots and its tendency to wordiness over its final reel. But it does mean that the film can itself stand as the affirmation of what its characters so badly want to believe – that it’s still possible for young, creative people to make exactly the kinds of films they want to make. Particularly in a Spain where the film industry is currently under direct threat from poverty, piracy and politicians, The Wishful Thinkers is an affirmation that deserves to be seen.
The film is dedicated to Fernando Trueba, the director’s one-time Oscar-winning father, without whom presumably none of this would have been possible.
Cast: Francesco Carril, Aura Garrido, Mikele Urroz, Vito Sanz, Isabelle Stoffel, Luis Miguel Madrid
Director: Jonas Trueba
Director of photography: Santiago Racaj
Production designer: Miguel Angel Rebollo
Editor: Marta Velasco
Sound: Victor Puertas, Eduardo G. Castro

1.20GB | 1h 33m | 720×406 | avi

https://nitro.download/view/C2F3A2C0E8A6EBD/Los_ilusos_(2013)__DVDrip_.avi
or
https://tezfiles.com/file/2f301038a7cad/Los_ilusos_%282013%29_%5BDVDrip%5D.mp4

Language(s):Spanish
Subtitles:None

The post Jonás Trueba – Los ilusos AKA The Wishful Thinkers (2013) first appeared on Cinema of the World.

Quote:
Eva is not satisfied with her life. In an act of faith, she decides to stay in Madrid over the summer, when all the other locals leave. August offers her a chance to start from scratch.

2.36GB | 2h 09m | 1024×552 | mkv

https://nitroflare.com/view/6C5C01CBA3EF2AF/La.virgen.de.agosto.2019.WEBRip.576p.mkv

Language(s):Spanish
Subtitles:English,French

The post Jonás Trueba – La virgen de agosto AKA The August Virgin (2019) first appeared on Cinema of the World.

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Vito, Luis and Francesco are three Spanish friends around thirty who travel by van to Paris for no apparent reason, just looking for a reunion with their respective ancient, idyllic and yet ephemeral love affairs, perhaps with the only mission of surprising themselves and continue to still feel alive.

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Jonas Trueba’s follow-up to his well-received ‘The Wishful Thinkers’ picked up awards in Malaga and acclaim at Buenos Aires’ BAFICI festival

“We’ll always have Paris,” Ricks says in Casablanca. The characters in The Romantic Exiles have never had Paris, but want it badly, along with all it implies. Jonas Trueba, son of the Oscar winner Fernando, is one of the bright lights of Spanish arthouse cinema in its more accessible incarnation, and this follow-up to his well-received style piece The Wishful Thinkers takes a similar trio of self-absorbed, tousle-headed, baggy-trousered dreamers and takes them in a battered orange van to France — obviously the director’s spiritual home — to muse on life, love and art.

Always engaging, often comic and deftly handled, Trueba’s work seems to be made for the consumption of arts students under thirty, and since there are plenty of them to be found around the globe at the arty end of the international festival circuit, that’s where Exiles will travel. The film picked up three awards at Malaga and has undertaken what will presumably be an extensive fest itinerary.

It kicks off with a quote from E.H. Carr’s novel of the same name, about a nineteenth century Russian family which becomes embroiled in revolutionary affairs in France and Italy. There’ll be no such sweep or range here, and indeed Trueba’s film feels like a gently ironic record of the last gasp of that noble romantic tradition.

Two of the trio appeared in The Wishful Thinkers and are probably the same characters, each hoping to continue a relationship previously started. Vito (Vito Sanz) is the driver and as a character is the least well-defined of the three, only coming into his own late on in a wonderfully comic, awkwardly self-conscious dialogue with his French dream girl, Vahina (Vahina Giocante). Francesco (Francesco Carril) is the most obviously tortured of the three romantics, before during and after his meeting with Renata (Renata Antonante): Luis (Luis E. Pares), (a film academic here playing a film academic who is, wink, wink, a specialist in exile in film) is seeking a reunion with Isabelle (Isabelle Stoffel, memorably over-the-top in The Wishful Thinkers, considerably more grown-up and contained here).

The early road scenes are dull: there’s only so much fun to be had in watching people traveling in a van wrapped up in their own thoughts, however romantic and interesting those thoughts may be. It’s all so much more fun when they’re talking to one another in a variety of languages, as when the group gathers round a dinner table in the company of an old, wise American (the 60s counterculture figure Jim Haynes) to pin down some of the film’s themes, such as the bizarre but intriguing wish that the 21st century will belong to Buckminster Fuller. In a film heavy with literary and film references, those to the Italian writer Natalia Ginzburg, in particular to her magnificent essay about education, The Little Virtues, are key: Renata quotes extensively from it.

The Romantic Exiles is a film about the end of youth, about women as the new drivers of the world, about the struggle to find emotional fulfillment (call it “life”) in a world where it’s increasingly difficult to find it, about friendship, and about film. Stylistically, it’s suggestive of the deceptively meandering, heavily nuanced worlds created by Eric Rohmer and Philippe Garrel, and has much of the same semi-improvised lightness of touch and cleanness of line.

At his best, though, Rohmer is never merely self-indulgent, as The Romantic Exiles sometimes is. To see the group sitting in a bar transfixed by a not-very good (but yes, impeccably romantic) song performed in its entirety by Miren Iza of the Spanish group Tulsa is to be very aware of time passing by, especially in a film with a running time of just 70 minutes, and regardless of whether the lyrics offer a running commentary on the film or not.

But for all its archness (and indeed perhaps offensiveness to a generation of unemployed Spaniards who would like nothing better than to get into a van and head off to France in search of romance, but can’t), The Romantic Exiles is at least sincere in its depiction of its half-baked attempt to make its proganists’ little dreams come true. Spanish cinema is too often lacking in Trueba’s delicate, engaging irony.

http://nitroflare.com/view/68658EFAC249FA4/Jonas_Trueba_-_%282015%29_The_Romantic_Exiles.mkv

Language(s):Spanish
Subtitles:English

The post Jonás Trueba – Los exiliados románticos AKA The Romantic Exiles (2015) first appeared on Cinema of the World.