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COMMUNITY RATING




After a 35-year absence, director Mercedes Álvarez returns to her native village Aldealseñor in remote
northwest Spain. She was the last child born there; now only fourteen aged inhabitants remain. Though her
film is intensely personal, Álvarez yields the spotlight to the dwindling but tenacious villagers. The passing
years have made them natural philosophers, historians, and comedians — they muse on the transience of
things, regard the folly of conquerors from Caesar to Bush, and lace it all with ironic, quintessentially
Spanish humor. For the moment, life goes on. Very soon however, without any outward commotion and without anyone to bear witness, it will all come to an end. The final fourteen represent the last generation of a people that have
carried on more than 1000 years of uninterrupted village life. Soon they will join the other ghosts that haunt
these ancient hills - ghosts of dinosaurs, Romans, Moors, and Fascists.
Álvarez’s proxy within the film is her friend, the painter Pello Azketa. The fourteen neighbors from this village
and Azketa share something in common: things have begun to disappear before their eyes. Azketa’s
encroaching blindness mirrors the film’s theme of dimming memory and his nebulous landscapes offer a key
to the region’s austere beauty, its stony heights dotted with lonely, wind-stunted trees that squat beneath a
towering sky. From a small patch of ground, Álvarez opens up a vast domain, dissolving the personal into the
universal, the fleeting into the timeless, and isolation into a connectedness that reaches high into the
heavens and deep into the past.
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