It is in the memories of a past not so distant where sometimes the deepest nostalgia is born. From this diffuse line between now and yesterday, from its strange closeness, a look arises that yearns for, and that wishes to revive what it considers lost. All experiences, pleasurable and detestable, acquire meaning over time; meaning that is obviously personal, but also marks a generation, not only identified with intimate memories, but they themselves will give meaning to their experiences through a look as alien as family.
The debut feature by the filmmaker Sofía Gómez Córdoba, "Los Años Azules", a film that tells the story of Jaime, Silvia, Andrés, and Angélica, a group of flatmates who added to their family and love problems the unexpected arrival of Diana, a bohemian tenant who also does not seem to have a settled life.
The movie is presented from a voyeuristic perspective (manifested through the quasi-ubiquitous feline Schrödinger), which from windows, roofs, and open-roof patios allows us to spy and enter the daily lives of the protagonists, whose interests, aspirations, and such different lifestyles, are put aside to agree in meetings as warm as an endearing and organic, remarkable acting work achieved alongside the director.
Throughout this roomie drama we do not abandon the unique location that is the house, which far from leading to boredom, allows a detailed exploration of space and its importance in the development of conflicts, some better rounded than others. Contained situations in miniscule appearance, whose emotional power lies precisely in approaching them and discovering their particularities, making them an empathetic portrait of loneliness, the frustration of unfulfilled dreams, and the search for love.
In The Blue Years we find a deep feeling of farewell: to the friends who leave, to a house in ruins, to a brief time that has been absent, but not completely forgotten. A retelling of worldliness, which seemed to have no end, and which now is wished would never have ended.
The debut feature by the filmmaker Sofía Gómez Córdoba, "Los Años Azules", a film that tells the story of Jaime, Silvia, Andrés, and Angélica, a group of flatmates who added to their family and love problems the unexpected arrival of Diana, a bohemian tenant who also does not seem to have a settled life.
The movie is presented from a voyeuristic perspective (manifested through the quasi-ubiquitous feline Schrödinger), which from windows, roofs, and open-roof patios allows us to spy and enter the daily lives of the protagonists, whose interests, aspirations, and such different lifestyles, are put aside to agree in meetings as warm as an endearing and organic, remarkable acting work achieved alongside the director.
Throughout this roomie drama we do not abandon the unique location that is the house, which far from leading to boredom, allows a detailed exploration of space and its importance in the development of conflicts, some better rounded than others. Contained situations in miniscule appearance, whose emotional power lies precisely in approaching them and discovering their particularities, making them an empathetic portrait of loneliness, the frustration of unfulfilled dreams, and the search for love.
In The Blue Years we find a deep feeling of farewell: to the friends who leave, to a house in ruins, to a brief time that has been absent, but not completely forgotten. A retelling of worldliness, which seemed to have no end, and which now is wished would never have ended.
