Tag: ivana baquero

The Christmas Tale


The Christmas Tale (2006)
★★★★ / ★★★★

It is the day before Christmas when five friends stumble upon a hole in the ground in the woods. At the bottom of it lies a sleeping woman in a Santa Claus outfit. Instead of helping her to get out, they eventually decide to leave her there. After all, missing persons usually come with a reward. It turns out that the twelve-year-olds are right: the woman, Rebeca Expósito (Maru Valdivielso), has pulled off a daring heist. The authorities are looking for her and the two million she has stolen. The kids tell her that if she reveals to them the location of the money, they will throw in a rope so she can climb up. However, if she refuses, they will leave her to die.

Confident in execution and maintaining a palpable level of tension throughout, “Cuento de navidad,” written by Luiso Berdejo and directed by Paco Plaza, is a horror picture that actually surprises. While the scare factor is not very big, it takes place in a specific time period and does not waver from its perspective. That is, the story is told through the eyes of children on the cusp of being teenagers. They argue about what is the right thing to do for each of their sakes, their status as a group, and the thief who might be sitting in her grave.

It captures how it is like to be twelve. They are not taken seriously, as shown in an early scene when they seek help from a cop, they tend to define life through the movies they watch, and they assume the worst out of a situation even after thinking things through. But the material does not only get the personalities right. They wear the right clothes, possess the cool toys, and they have the movies they are not supposed to be watching on VHS tape. It is enjoyable to look into their world. We get a sense of why they are friends.

But these are kids with distinct personalities so, naturally, they disagree over certain courses of action. Moni (Ivana Baquero) and Koldo (Christian Casas) think that they should just let the woman go. While they agree that she is probably dangerous, she is in no shape to come after them. They can simply tie the rope to a tree and throw the other end into the hole. While she pulls herself out, they can run. After all, she does not know where they live. But Peti (Roger Babià) and Eugenio (Daniel Casadellà) want the money, all of it. They argue that the woman’s life is in her hands. All she has to do is tell them where the money is hidden. Tito (Pau Poch), on the other hand, remains mostly apathetic. He is too busy trying to be like Ralph Macchio’s character in “The Karate Kid.”

As the first half continues to build, we wonder how much is enough for Rebeca to endure. Sure, she is a thief but her prolonged suffering made me feel bad eventually. This is a smart move because since it is likely that our sympathy has shifted, the latter half is focused on the group of friends having the scare of their lives. And maybe they deserve to experience that fear. What they did, regardless of one’s age, to that woman is not okay.

“The Christmas Tale” dabbles with the occult and it works wonders. It takes advantage of the impressionability of the children and since we perceive the events through them, reality is somewhat skewed. We are given straight answers, but most of the time we are left to wonder what is actually happening. The final scene is one to remember.

Pan’s Labyrinth


Pan’s Labyrinth (2006)
★★★★ / ★★★★

“El laberinto del fauno” or “Pan’s Labyrinth,” written and directed by Guillermo del Toro, is one of the most compelling pictures I’ve ever seen about the power of imagination. Ofelia (Ivana Baquero) used her mind as an escape from several events that she could not fully understand and deal with: moving into a new home in a countryside surrounded by the Spanish guerilla, her mother’s (Ariadna Gil) decision to be with a cruel army captain (Sergi López), her mother’s illness along with having a new sibling and the war that was driving everyone around her into a state of conflict and madness. In her fantasy world, she was an underground princess trapped in a human body. In order to get back to her royal family, a faun (Doug Jones) informed her that she must complete three dangerous tasks. What I admired most about this movie was del Toro’s ability to show us a story seen through a child’s eyes but at the same time keeping the reality at an arm’s length. Although fantastic elements are abound, this film is definitely not for children due to the intense violence and sometimes unbearable emotional suffering. I couldn’t help but be impressed with the way the director weaved in and out and through the reality and fantasy of the story. Even though we get drastic changes of scenery with each mission that Ofelia decided to take part in, tension was something we could not escape. I loved the spy/mother-figure played by Maribel Verdú. She just had this strength that radiated from within which made her a key figure in Ofelia’s life because her bed-ridden mother could not protect her. Verdú’s scenes with the smart and venomous captain gave me the creeps; the looks he so often gave her made me believe that he knew what she was up to all along. Ever since it’s release, “Pan’s Labyrinth” gained great approval from both critics and audiences and deservingly so. A lot of people consider the film as a dark fairytale. While it is that, I believe it only highlights one dimension of this amazing work. (The words “dark fairytale” sounds more like a fantasy.) A large portion of this picture was about how Ofelia looked inwards in a time of need and turned things that she could not control into something she could. That is, the more the main character was forced to grow up due to the circumstances around her, the more she gained an internal locus of control. When fantasy and reality finally collided during a key scene in the end, it was very depressing yet magical–and that was when del Toro’s vision finally came full circle.