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Facing alzheimer’s, the barcelona filmmaker maria ripoll remembers that it is possible to ‘live twice

Maria Ripoll remembers that it is possible to ‘live twice’. Today, September 6, comes to the Spanish cinemas Vivir twice, a dramatic comedy by the successful Barcelona film director (Lluvia en los zapatos, 1998; Tu vida en 65 ‘, 2006), which will be distributed by Filmax.

Main story: Adventures of Emilio (Oscar Martinez)

The peliculas online HD follows the adventures of Emilio (Óscar Martinez), an old man, dedicated to mathematics, who receives the devastating news that he is going to lose his memory as a result of Alzheimer’s.

Aiming to see the love of his youth again before this terrible event happens, Emilio goes on a crazy trip, accompanied by his daughter Julia (Inma Cuesta) and his granddaughter Blanca (Mafalda Carbonell).

This journey, as a road movie, will serve the characters to discover that there is no date to start from scratch and, also, to discover the deceptions that have been present in their lives, because it is never too late to do things right..

For her part, Maria Ripoll is a filmmaker with personality and a sensitive style of making cinema that makes her unique when she shoots. In addition to the films cited, his works Traces of Sandalwood (2014) or Now or Never (2015) are notable.

In the case at hand – it is his eighth film – he takes up the reins of a risky proposal, in which he has found the balance between the comic and dramatic tone that the adventure presents and that, fortunately, does not fall into sentimentality, nor in the television melodrama.

The solid script of Maria Minguez

The solid script of Maria Minguez, responsible for the libretto Love in Powder (2018), decisively contributes to this, which achieves a kind portrait of the passage of time and a reflection on maturity. In addition, the trip affects three generations with all its elements, which has the ease – despite how complicated it is – of serving a romantic drama  that celebrates life when it should mourn and cry when it should shout with joy.

Another of the great assets is its distribution. Certainly, Óscar Martinez plays the role of Argentine grumpy to perfection, as he already demonstrated in Toc-Toc (2017), and his talent on the screen is noted. As much or more happens with the actress Inma Cuesta, increasingly credible and emphatic in his characters.

We are probably facing one of his best works. And the same can be said of the 10-year-old Mafalda Carbonell, daughter of the actor and humorist Pablo Carbonell, who has inherited from her father her virtues for comedy.

Mafalda, like her character, suffers from arthrogryposis -congenital contractions that affect various joints of the body- and her work in the film is a valuable example of overcoming, in addition to adequately synthesizing the role that new technologies have in young people.

Less worked is the character played by Nacho López, simply because the script lacks edges that define it better. For its part, the rest of the secondary is at the level of the main roles and thus the story always maintains a balance, both in its structure, and in the narration and dialogues.

Therefore, a very good film remains, an example and example of Spanish cinema now in the hands of Maria Ripoll, who incidentally is the film director who has collected the most with her films. This time, everyone has to be followed.

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