6 – THE HOLIDAYS
Direction: Ignacio Rogers
Screenplay: Ezequiel Díaz, Esteban Lamothe, Ignacio Rogers, Alberto Rojas Apel and Julieta Zylberberg
Duration: 89 minutes
Performers: Cecilia Roth, Dolores Fonzi, Daniel Hendler, Ezequiel Díaz and Margarita Israel Gurman
The family reunions with members who have strained relationships with each other they make up one of the most recurring narrative topics throughout the audiovisual globe. If we add to this that the meeting is the consequence of a recent flirtation with death and takes place in a country house during Christmas, it becomes clear that there is plenty of raw material for a story that orbits around the links, the dysfunctionality, the mistakes of the past and the possibility of a somewhat more harmonious future within the clan. So it is with Partiesthe second feature film in the folding chair of the also actor Ignatius Rogers after the white devil (2019). Both films could not be more different: from the phantasmagorical and supernatural horror of that to this friendly dramatic comedy –or drama with touches of comedy– which had its first public exhibition in the framework of one of the parallel sections of the Mar del Plata International Film Festival last year.
Families are like galaxies orbiting a star. The problem, in any case, is what happens when that star begins to lose its brightness. Therefore, a reconfiguration of the system is needed, as will happen with the family headed by María Paz (Cecilia Roth), a woman who does not have a smooth relationship with her three children. However, her group is firmly at the foot of the canyon during her hospitalization following a heart attack. And that everyone faces their own problems. Some are clear in the first minutes of the footage, such as Mali (Ezekiel Diaz), who makes a living as a waitress, but doesn’t seem to have the patience to deal with customers, and has just lost her roof. Light (Dolores Fonzi), for her part, has a daughter from a truncated marriage and tries to combine her maternal role with the possibility of satisfying her feminine desires. The last one is Sergio (daniel hendler), owner of an apathy that, in reality, hides a deep dissatisfaction with his emotional life.
Of course, María Paz is not a Discalced Carmelite. Manipulative and generally distant from her offspring, she takes advantage of her convalescence to organize a getaway to a ranch during the title festivities. And that is where the group will go, willing to try to make the days pass as calmly as possible. Hard. You don’t have to be a genius to imagine that coexistence will go from coldness to billing, and from there to the revelation of the most intimate emotional nuclei of those brothers who, beyond everything, are willing to love each other. It is appreciated that the script –co-written between Rogers, Ezequiel Díaz, Esteban Lamothe, Alberto Rojas Apel and Julieta Zylberberg– avoids underlining to, instead, bet on fluidity and inconsequential a priori dialogues that will make sense as each one shows his real face. Authentic characters that say things typical of human beings. Partiesthen, like a somewhat bitter and fragile film, but one that firmly believes in honesty and transparency.