It drags High capacities (2026), Víctor García León’s latest feature film, with a distant overall shot that captures a great school scene evidenced by “Halloween” decorations. At the other end of the scene, caught in the center of the action like two animals contemplated by an attentive retriever, are Alicia (Marián Álvarez) and Gonzalo (Israel Elejalde). She, the accountant of a fashion magazine; he, an employee of the bank; The two were included in a media class where they would like to press the hip button that activates the push mechanism of the social elevator.
The transfer process that should facilitate access to the elites of economic Olympism is nothing more than the process of hijo Fer (Suso Nanclares), a rebellious child that his fathers entered into the burbuja protector of extracurricular classes and prophylactic pedagogy, but with whom Cruzan jamás more than two sentences.
A serendipitous coincidence opened the door to an elite secular collegea unique opportunity to give up the dishonored dignity of these public schools, which one must avoid defending with denue, until the opportunity again presents itself to leave them. Better than a guy without morouses or gitanos. Multicultural yes, but come to class in a Porsche.
Changing schools means jumping the food chain imposed by neo-capitalism and sharing a meal – or barbacoa – with people like Domingo (Juan Diego Botto), the jefe de Gonzalo, a master rhetorician capable of making your 80 square meter apartment and his guest house cottage the same: stationary.
High capacities It’s a black comedy with a filigree hilvanthe guide is perhaps a sequence of unofficial suggestions where two fathers raise locks in the air with the thieves of destiny, who will open the pijería heaven like in Real Madrid, if they win the preliminary round of the Champions League thanks to an unexpected sequence of goalkeeping torpedoes that always make you cry when touched.
But nothing is worth it if one does not know how to test it, and that is the delinquent ability to elevate Alicia and Gonzalo to the category of real concepts found in the world, as if they were children of feeling – special child, high abilities, dyslexia – who came to them aim for finishers but the recommendation signed by Maria Montessori brought me back to life.
The writing of García León and Borja Cobeag, the film’s co-writers, shows a capacity for retorcity, not because it follows that the film is supported by an argumentative esquelet, although He can use gambling—a recursion that never works in fiction—as a powerful weapon against his creatures.: the sequence in which Gonzalo accidentally crosses paths with his lejos to climb the park, to help her achieve her goals, ends with a desolate post office that will serve to illustrate the concept of exchange rate value in a book of Marxist theory.
On the concept of humor shared by other similar authors such as Diego San José or Juan Maidagán and Pepón Montero, I will repeat all this a tone that, without giving up comedy, interrupts the alarm of the obvious to prevent the drama in each sequence as a thief, welcome whoever invites you to drink that game of plates decorated with fertile motifs that they put on your game plan.
Sidney Lumet said that when he used the lenses as a narrative element – i.e. the deciphering, the counting through the switching of lenses and the placement of the camera – he did not ask the audience to know what it was, that this development created the advertising abstraction that was present in it. Network (1976) o la asfixia que iba compressiendo las imágenes de Doce hombres sin foot (1957) debyan pasar desapercibidas.
Algo de eso, aunque hablemos de un registro muy distinto, encontramos en Altas capacidades. Filma de manera casi desmañada García León todo el primer acto. La transición que se produce entre la secuencia del primer cumpleaños al que asisten Alicia y Gonzalo junto al grupo de padres del colegio público al que va su hijo —esa jungla de plástico convertida en escenario de una pelea infantil— y la amplitud y la preferencia por el equilibrio que domina los encuadres del cumpleaños de la hija del jefe de Gonzalo al que van inmediatamente después, resulta muy significativa. Cuestión de clase.
Hay aquí una finura dramática y estética a la que la comedia cinematográfica española lleva años renunciando y que García León vindica, primero, poblando su historia de personajes innobles, pues cualquier atisbo de positividad hubiera derivado en obvio maniqueísmo. Después, vaciándola de psicologismos: aquí nadie dice lo que piensa y todos, con mayor o menor fortuna, intentan manipular al prójimo. Por último, hace de la distancia un marcador tonal fundamental y pone a tres actores espléndidos —Marián Álvarez, Israel Elejalde y Juan Diego Botto— en registros que les son poco habituales y que defienden mejor que la derecha española la erradicación del impuesto de sucesiones.
Ojalá nos topemos con más películas de este nivel en la presente edición del recién estrenado festival de Málaga.
Calle Málaga: Carmen Maura, a pesar de todo
María Ángeles (Carmen Maura) lleva toda su vida en Tánger. Es hija de uno de los muchos emigrantes españoles que cruzaron el estrecho huyendo del franquismo. Alzamiento nacional para unos, vuelo internacional para otros. A sus casi 80 años, con una salud envidiable y una existencia plácida en un barrio que más que un barrio parece un sueño de armonía, María Ángeles disfruta el tiempo que le queda.
Sin embargo, la repentina llegada de su hija Clara (Marta Etura), enfermera divorciada y con una hija a cargo, romperá las expectativas de una María Ángeles que, a estas alturas, no contaba con contratiempos que le perturbasen sus últimos días. La precariedad económica de Clara, que no puede hacer frente a sus gastos con un sueldo que no alcanza los dos mil euros, la lleva a poner en venta la casa familiar de cuyos derechos su padre la había hecho detentora.
This obliges María Ángeles to go to Madrid with her hija and with her niece to enter a residence in Tangier for the Spanish, where she has a square from her large estate in the city. Even if you accept admission to the asylum in principle, based on strength of character and on the negative path to stop walking without playing for what you consider yours, They take her to occupy her old apartment and turn it into a talkeasy in which the MP learns to see the game, eat tapas and drink beer.
It happens that the director is tanned Maryam Touzani prefers kindness to exploiting real conflict which is subject to his planteamiento. It’s strange that someone would elevate climax in movies as much as I do Adam (2019) or Blue caftan (2022) prefers to return to the ways of harmless habits and forgo a deep penetration into a topic as hairy as life crisis and intergenerational conflicts that can be resolved.
Here it matters more about the heart that it arouses, about the emotion that we prefer not to examine the performance of words in front of the unjust situation that arises. Maybe no sea casual que Calle Málaga (2025) won the Audience Award in Venice and Mar del Plata, which was selected to open the 29th Málaga Festival, now in what concerns the skin of the sensitive fiber, You know the pulses of that pulsar. Flash back to María Ángeles’s relationship with the antiques dealer who sold her her jewels, all the way to the fun, muted monologues in which the stunning Carmen Maura steals from a monja friend who’s sworn to silence.
Film e.g predictable, current and lovable. And that may be enough for many people. Everything depends on current events.
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