I like the storyline of this show,it attract me so much

Let's be realistic.

It's not great by any means, but it's a pretty good movie that didn't leave me filled with regret for investing time in it.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

I saw this film when it was first released in the UK then quickly saw it again, to fix it in my memory as I feared its commercial life would be short. Later I saw it on BBC television and recorded it on videotape, which is the best I have been able to obtain so far. Infuriatingly, it is now available on import, but ONLY on Bluray, which I don't have. Suffice it to say that this film is one of the saddest yet sublimely beautiful films in history. At its heart is a mystery, sketched out for the viewer, but with much left to be surmised, while at the same time Estrella knows even less. She thinks her father has a magic quality, but as she matures she realises that the magic hid some deep unhappiness. She needs to know more about this man, but we know that her search is likely to be fruitless. This is why the "unfinished" ending is, to me the perfect place to end. The "South" is used as a metaphor for some place other, a place we may dream of, but not visit or know. Maybe a place of romantic dreams, a place where we imagine we can find lost loves. This is the father's tragedy : essentially a good man who seems to be living a private life of impossible dreams, when what he has in reality is so precious. This is heartbreakingly beautiful cinema, I can't recommend it highly enough.

This story unfolds in delicate time in the history of modern Spain, as well as during a precarious time in the life of a family.Adolescent Estrella lives in awe of her mysterious and magical father, wonderfully played by Omero Antonutti, and weary of her ever-practical mother and of their isolated life in the misty and brooding northern countryside. Estrella's fascination with her father turns to intrigue- and then to obsession- when she discovers that her father has a secret, and realizes that she is only one facet of her father's life and not the central figure, as he is to her.After a ray of sunshine is cast into her dark and insular life by the visit of one of her father's aunts (played by the late Rafaela Aparicio in one of her best roles), Estrella yearns to capture more of the essence of her father by one day visiting "el sur" (the south)—his home territory.As Estrella enters the awkward realm of adolescence, she grows apart from her father emotionally. A tragic turn of events condemns him to remain a mythical figure for her—someone she wonders if she ever knew at all. The supreme irony is that she is very like him.This film is captivating, both visually and emotionally, and the audience becomes just as absorbed in the story as the characters themselves. It is one of those films whose imagery will always stay in one's memory, such as in the my favorite scene, where father and daughter sit distantly across a table from each other in an old café, listening to the eerie sound of a "pasodoble" that wafts from a wedding in another room, bringing memories of happier, simpler days.

I liked this movie, but was mildly surprised to find it getting, here, the uncritical praise it has done.First of all, for those who haven't seen it, it's a film that gets people raving first and foremost not about the acting (which is excellent, if a little too dispassionate and throttled-back in Antonutti's case for my own tastes), nor the plot (which is resolutely episodic) but the cinematography. The best way I can describe it is to say that it's shot like a succession of Rembrandt paintings brought to life. If ever a film's lighting stole the show, this film is it. Ten out of ten on that score.Secondly, for those who have seen it, well, didn't anyone else notice what to me was the film's one big flaw? I mean the POV question. Here you have a beautifully filmed version of a subtle, sensitive story of a young girl's relationship with her father. All the way through there is frequent offscreen narrative punctuation in the first person. It's a story quite clearly /told/ from the girl's POV, and all the director needed to do was make sure it was /consistently seen/ from that point of view, both in terms of preferred camera angles and in terms of the information we are allowed access to - and we might have had a full-blown masterpiece on our hands. Instead, the strength and emotional intensity of the film are constantly being diluted by (it seems to me) wholly unnecessary interpolations of information the girl herself /could not have had access to/ (e.g. and most notably, the contents of the letter her father receives from his old flame). Thus, we are artificially distanced from the sense of mystery felt by her by knowing more than she does at key moments, and more than we really need to know ourselves. The magical realism element should have been respected just a little more than it was.I also think that another less fastidious director might have found ways of quietly pointing up the contributions made by the various narrative episodes (the potentially v. powerful water-divining scene, the relatives' visit, the cinema poster, the glimpse through the cafe window, the lie told to Mum, the graffiti-mad boyfriend) to the film's overarching theme: a vital but absent and mysterious "South" that runs like an underground stream through the girl's youthful, very Northerly experience. The idea is a beautiful one, and the film sort of captures it, but only if you run with the idea yourself quite a bit between scenes. I don't know if the audience's sympathetic imagination needs to be made to work /quite/ so hard in this medium, where just /showing/ is so easy to do.In short, I think this film is excellent, but could have been better than it was, and deserves a remake.

Surely, at least for me, this movie is the best one of Spanish movies since the times of BIENVENIDO Mr. MARSHALL. The best of all is the interpretation of the first girl, SONSOLES ARANGUREN and the Italian actor, OMERO ANTONOUTTI. But about all, the best of the movie is the photograph with the marvelous darkness. I recommend it for all the people that love the real and authentic "CINE".