Video Review: “The Red Squirrel (La Ardilla Roja)”

April 21, 2013
Image from www.spectacletheater.com
Image from www.spectacletheater.com

Not long after I started writing for the Austin Chronicle I started shooting over video reviews of movies I liked. This is one of those.

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The films of Basque director Julio Medem derive much of their power from their constant proximity to the melodramatic, the grandiose, and even, at times, the ridiculous. As with Leos Carax or Harmony Korine, the dead-serious notion of cinema as a kind of visual alchemy pervades everything Medem does, which means that when he fails — as he does often, and with naked abandon — he provokes unintentional titters. When Medem succeeds, though, his films feel like a head rush. The director’s second feature, The Red Squirrel, might be his most uneven work; its hackneyed plot points, strained symmetries, and abrupt explosions of incongruous violence and humor threaten to derail the whole movie at any given moment. But Medem manages to fashion around these flaws a dark love story that – like Lynch’s Mulholland Drive – transmutes a fairly corny head-injury-amnesia tale into a vertiginous (à la Hitchcock) plummet into the deep waters where identities mingle and unspeakable truths perpetually threaten to surface. Also like Mulholland DriveThe Red Squirrel‘s most compelling moments come from an ominously slow unraveling of the secrets of its central characters – a beautiful and mysterious amnesiac (Emma Suárez) and a suicidally depressed musician (Nancho Novo) who, on an impulse, passes himself off as her lover – as they hide, in a dusty Spanish campground, from the world outside and from the violent pursuit of the amnesiac’s husband. Rather than gradually answering the audience’s questions about the identities of these two lovers, Medem lets these questions slowly resonate, rhyme, and intertwine – punctuated by dream sequences, spiritual visions, and sudden shifts and fusing of perspective – allowing his film to hypnotize itself into a fugue locked obsessively around the motifs of love, lust, and loss. Inevitably, Medem’s third-act attempt to tie up the film’s loose ends (rather than gleefully cuisinart them into oblivion, as Lynch opts with his amnesia story) causes some of The Red Squirrel‘s mystery to evaporate – but not before leaving behind a residue of dread and wonder that remains long after all “explanation” is ostensibly over.

Originally published in the Austin Chronicle, August 2002. Revised.

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