Alba was the second of three films at ¡Viva!, to present young teenagers in complicated family situations. 11 year-old Alba lives with her mother who is bedridden and dangerously ill. Alba is reliant on her own company and struggles to make friends at school. When her mother is hospitalised Alba is sent to live with her father Igor who she doesn’t really know since she was a baby when her parents divorced. He too is a solitary figure and seems beaten down by life. But he makes an effort and as a new relationship between father and daughter slowly develops, Alba also finds a new friend at school and starts to ‘open up’. But, once she begins to engage with her classmates, familiar issues of peer group pressure emerge and, in Alba’s case, social class attitudes. We realise that Alba’s mother must have put her daughter into a school in a middle-class area and her father’s lifestyle and his job in a municipal office don’t fit in. The narrative then has to deal with this new predicament.
Alba is a film developed with help from various film festival schemes as a first feature by Ecuadorian director Ana Cristina Barragán. She had previously made two well-received short films and this enabled her to attract two pairs of producers from Mexico and Greece who helped to make the film a success at festivals in Rotterdam and San Sebastian as well as Chicago, Mumbai and Lima. I haven’t seen a debutant film as fine as this for a long time. Despite sometimes employing the dreaded Steadicam and shallow focus at times, the CinemaScope frame is used by cinematographer Simon Brauer for lovely compositions which tell us a great deal in a film with less dialogue than usual given the shyness of both Alba and her father. The details are very well worked into the narrative and I would enjoy watching the film again to pick up what I might have missed first time round. Macarena Arias as Alba is fantastic. Like the young actor in La Madre, she has the kind of face that can be switch from vulnerable child to serious young adult and can be revealed as just as pretty as the privileged girls when dressed up for a party. Pablo Aguirre Andrade as Igor is also very good. I thought he seemed familiar and now I realise he was in the youth picture María y el Araña which screened at ¡Viva! in 2015 (and which I also liked very much).
The film doesn’t name the city in which Alba lives, but in the most lyrical section of the narrative Alba and Igor visit the seaside area of Santa Elena. This section sees Alba playing a cassette in Igor’s clapped-out old car. He confirms that the tape is one of her mother’s. ‘Eres tú’ was a massively popular Spanish song from the early 1970s sung by Mocedades and a big hit around the world. The scenes that follow are the most lyrical with a patient father recognising and supporting Alba’s affinity with living creatures and her appreciation of natural beauty.
But the joy of these scenes can’t last and there is more drama to follow. I like the way in which Barragán manages to show how Alba can ‘blossom’ through friendship but then find herself in more difficult situations because of unfamiliar social differences. It’s rare to find such a moving mix of ‘growing pains’ youth picture, family drama and subtle social commentary in a film that is also beautiful to behold.
Alba is a positive and encouraging story about a young girl told with considerable skill and panache. I hope to see more films by this director and Alba deserves to be widely seen and enjoyed. So far, promotional material is only available in Spanish via the official website which carries a Press Pack and the trailer below (from which I’ve taken most of the screengrabs in this posting).