The films whose target is the early ages continue. Films with collective protagonists - young people with no direction, displaced in their social environment - Colombia brings: Los nadie and Mañana a esta hora. (Nobody and Tomorrow at this hour.)
Los nadie, by Juan Sebastián Mesa, shows a group that literally ignores what to do with its life: he finally decides to travel on one of those journeys in which he actually runs away from himself, from the void and the lack of projects.
Spontaneity is perceived in the director's method to apply identical results to a tape where, rather than a narrative proper, the anarchic, decentred and fragile environment of the characters reaches the viewer. What remains is a scrawny, wildly unwieldy work, which also encompasses the performances of non-professional actors, who convey the guiding ideas of Los nadie and accuse, in their own way, the lack of meaning and direction that denotes the society where the facts develop.
It does not have the same effects in Tomorrow at this hour, by Lina Rodríguez, in which the supposedly free dialogue (also) of a script letting the actors comment on their little interesting and absent of compass lives, becomes a film with such characteristics, which are difficult to bear beyond his first few minutes.
Meanwhile, the relationship between a daughter and her mother centralizes the Argentine film Weekend, by Moroco Colman. In this case the personality of Martina, a young rebel who tries to prevent the visiting mother (Carmen) from focusing on her life and relationships, marked by sadomasochism and the absence of real affective bonds, is focused. With explicit sex scenes that seek to confer greater truth to this important plot of the story, the work reflects on (dis) generational and family encounters, specifically female, that unleashes in a film without great aesthetic or dramatic pretensions, but which convinces since its minor tone, something in which the performances take no small responsibility.
But if it is a matter of paternal-filial relations, there is perhaps not a more startling film than Mae, só há uma, from Brazil - perhaps much more effective the title that the translators gave it: ¡No me llames hijo! Don’t call me son! From the same director who was pleasantly surprised last year with The Second Mother, Anna Nuylaert, her interest in this type of conflict between parents and adolescent children is evident; Let us not forget that in her previous work she approached the role of the maid in a context where she hardly fits; But this time she moves on a much more serious topic: the encounter with their real parents of young people who were stolen at birth.
It is something that Pierre and his sister must face, although the film focuses much more on him when his world changes in front of his parents who strive to be kind and fill it materially but do not understand him, which leads him to a rebellion which even reaches aggressiveness. A ripe and reflective film, admirable in its tracing and evolution of characters (all notably acted, especially the protagonist of Naomi Nero, or the father of Matheus Nachtergaele) as well as in the gradation of its dramatic curve, which is solved by long shots, slow tempo but never boring; Exquisite art direction ... it all results in a movie suitable for the viewer to connect with the represented world, and become sensitive complicit in realities that affect us all in one way or another.