Rodrigo Sorogoyen confirms his talent at the Venice Film Festival with the series ‘The New Years’ | Culture

New Year’s Eve always brings renewed hope. We look back at what was, or what could not be. But the cava also uncorks good resolutions for the year that begins. Be more patient, drink less, call home more, look for another job, find a partner, take better care of the one you have. After all, there are 12 months left, it is impossible to fail. The project never counts, however, on the main passion of life: upsetting plans.

On December 31, Oscar is still crying over the end of his relationship. “You have sad eyes,” Ana, whom he has just met in a bar, tells him. Hours later, the two of them are rolling around on a sofa, inflamed by an instant spell. But, a little while later, she buys the flight to Canada that she never dared to book and to which she trusts the revolution that her daily life needs. Dreams of change. Some will come true, others will not. As always. New Yearsby Rodrigo Sorogoyen, Premiered today out of competition at the Venice Film Festival, the series follows both characters over 10 episodes (around 50 minutes each) and a decade. Each episode, one New Year’s Eve. And, for its part, the series keeps its fundamental promise: to reaffirm the talent of the filmmaker, who brought the work to life, co-wrote it with Sara Cano and Paula, and filmed the first four episodes. It will soon arrive on Movistar Plus.

“Perhaps the most important Spanish director of the moment, behind Almodóvar,” defined him the artistic director of the Mostra, Alberto Barbera, when he presented the event in July. Debatable, of course, because Carla Simón, Juan Antonio Bayona or Isabel Coixet, among others, could well aspire to the same title. What is certain, in any case, is the constant rise of the Madrid native. When he came to the Lido the last time, in 2019, with Mother, He himself represented a good purpose: to move from emerging youth to confirmation. The kingdom and the series Riot police They represented the filmmaker’s climb to the summit, which he reached with The Beasts. It’s difficult to get there, even more difficult to stay. But New Yearsat least after watching four episodes, once again offers all the virtues that have distinguished Sorogoyen. Including, perhaps, his greatest gift: connecting with the public, without giving up his personal and authorial stamp. A rare and highly prized commodity.

The story begins at a party. And with both characters having just landed in their 30s. Because both of them are just blowing out candles around the passing of one year to another: 31 for him. 1 for her. From there, the viewer accompanies Oscar and Ana, step by step, on the road to 40“It was the decade that suited me the most,” Sorogoyen, 42, told reporters. “Of course, there could be other ones. But this one also tends to have many important moments.”

In your twenties, all paths are open. You can even turn back if the road gets too steep. Or at least that’s what it seems. Ten years later, of course, there is still a long way to go. But a thirty-something has walked so much that some routes are too far behind. As, probably, some loved ones. The key crossroads multiply: starting a family, getting married, deciding on a job or, often, deciding to give up your dream job because of reality. Or not doing any of those things. At least, you have to decide. And accept the consequences.

The series is a good reflection of this. In the first episode, there is a lot of drinking, frenzy and even the crazy idea of ​​driving from Madrid to Valencia on January 1st just to have a good paella. Everything goes forward, with no time to turn around. As the play progresses, more wine is drunk than gin and tonics, in living rooms rather than bars, and conversations include houses and children. Illusions endure, but they share space with regrets, frustrations and resentments.

Sorogoyen narrates it with the usual mastery for filming collective sequences. As in the unforgettable beginnings of The kingdom and Riot police. Everything fluid, realistic, natural. Everything intriguing, whether it is about police, political corruption, officials in front of a Blackout or relationships, which he already addressed in his debut, Stockholm. The credit goes to the direction, the acting, the script. Francesco Carril, who plays Oscar, explained that filming for many months and in chronological order helped them to get to know and discover their own characters: “The series talks about how in life we ​​go from one thing to another, but also about what happens in between.” “It’s rare that you get a text like this. It was surprisingly well-dialogued,” said Iria del Río, who plays Ana. The director, in turn, acknowledged her: “She’s a magnificent actress.”

In Venice, the two parts of the series, each with five chapters, were shown in full, and on the big screen. But the director was reminded at the press conference that this is probably not the format in which most of the public will be able to see it. “I prefer not to take into account that it may be seen on a mobile phone at a given moment. It comes naturally to me. As the project was being made, I was more and more enthusiastic. I don’t know if it sounds pretentious, but I was convinced that we were making a film. We conceived it that way. I would like it to be seen on the big screen. Although it could not have been done without Movistar,” he said. He did report, however, that about what New Years It will also be released in Spanish cinemas. There will hardly be many. But at least it is a good intention.