Not infrequently the entity of the characters rises above the films in which they appear: on their virtues, and also on their defects; or, at least, on the debatable formal decisions that accompany the future of its protagonists and of the societies where they operate. The oblivion that we will be Sixteenth fiction feature film by veteran Fernando Trueba, who has made films of all genres and styles for more than four decades, could be one of those works.
The personality, work, ideals and ethical depth of Dr. Héctor Abad Gómez in the violent Colombia of the seventies and eighties also acquires an even more shocking dimension in these days of fury and blood in the South American country. His son, the writer Héctor Abad Faciolince, narrated his days at home and at work, of struggle, goodness, humanism and tragedy, in the homonymous novel on which the present film is based. And the director of Belle Epoque Y The girl of your eyes He has visualized it with two aesthetic decisions that, at least in the first part of the story, seem to go against him: the insistent photographic division of the two fundamental times in history between black and white and color; and, above all, the peculiarities of the latter, of a muted emulator of the tonalities of the time, dyes without rotundity and with nostalgic nuances; a system that has long since become a formal cliché in film and television productions around the world — perhaps, except in the United States — and which gives them an aroma that may be deliberately stale, but stale nonetheless.
Since the spontaneity of his first works, Trueba’s cinema has become more and more formalistic. But, in the face of the forcefulness of those first exercises in style – and there the fabulous blackness of The mad monkey’s dream would be the paradigm—, in his latest titles the particularities of his visualization did not always seem to reach the desired aesthetic levels, particularly in The victory dance and in The artist and the model.
Now, as we said at the beginning, if the stories and characters have enough strength, appeal and capacity for emotion, all of the above remains fallow, even in question. Y The oblivion that we will be It becomes more pervasive as the footage progresses, almost without you noticing because it tells, and tells it well through David Trueba’s adaptation, one of those lives that it is necessary to tell and remember. That of a good man, that nickname so obsolete in times of cynicism and fierceness, and the precious relationship with his son. A memory so based on the great events of a relevant existence, as on the smallest details of coexistence, teaching and affection.
And in that sense, that of the astonishing sedimentation of what at first seems shocking, we could also include the magnificent performance by Javier Cámara, a singular choice to put body, face and above all voice to Abad Gómez. In the first few minutes, you see Cámara wonderfully emulating an accent; But as soon as the natural initial surprise passes, the Spanish actor ceases to exist, woven into the charismatic figure worthy of a fighter for social rights. As François Truffaut said about Jean Renoir’s cinema, his films were on the side of his characters. And Trueba, despite the opinionable formal essences, also does it in The oblivion that we will be. In the end, it is his creatures that dominate a universe of chromatic pallor, but of categorical confusion.
Eddie is an Australian news reporter with over 9 years in the industry and has published on Forbes and tech crunch.