Fuente Álamo, la caricia del tiempo

Fuente Álamo, la caricia del tiempo
72 min | Spain | 2001

In Fuente Álamo, a village in the province of Albacete in La Mancha, summer makes the days languid. The camera is everywhere in order to record the different lights and sounds, the gestures of old Maria, of the tractor driver Pedro and the shepherd Guillermo, the workers from the shoe factory, the kids getting ready to dance as evening comes. Everyone meets up around the local rock group and the gazpachos manchegos.

Original format: 
35 mm Colour

Marc Cistaré
Verónica Font
David Vericat, Pablo García
Luis Miñarro. Ramón García and Núria Pérez de Lara


Festival de Cine Independiente de Barcelona “L’Alternativa” 2001
Festival Internacional de Cine Mediterráneo de Montpellier 2002
Roma Film Festival 2002
Festival “Filmer A Tout Prix” 2002
Festival dei Popoli 2002
Bfi London Film Festival 2002
Doc’s Kingdom 2002
Festival Internacional de Karlovy Vary 2002
Festival du Nouveau Cinema et des Noveaux Medias de Montreal 2002
Festival de Documental de Lisboa 2002
Cinema du Reel 2005

Text on the film

Fuente Álamo, the first and so far the only long documentary by Pablo García, is one of the few over the past years who gives rise to hope. On seeing the film (should the opportunity arise), one thinks to oneself how fortunate it is that a few filmmakers either still resist or are making their appearance in Spanish cinema, which –for all its brilliance and loudness– has largely decided to remain blind and deaf. Those who resist seem to have one point in common: they respect reality, cinema and the spectator, with the result that this respect is duly reciprocated. They also question the way in which they use the tools they have, no matter how modest or flimsy these may be. Somewhat in the wake of the methodological approach of José Luis Guerín’s En construcción and of his students’ work, the film has decided to wait patiently and let time do its work. Its purpose is not to earn money or fame, but simply to show and discover, to take a look at the final remnants of a disappearing way of life and fix the memory of magical moments with unfeigned truthfulness. It is an attentive and generous film, which keeps an intense, serene, yet fearless lookout for chance –welcomed if it wants to change something, but never summoned, for such an invitation usually remains unanswered– confident that things happen without being brutally forced. It catches people and events in all their truth and grace, free from drama or exaggeration, possibly in all their integrity, without reducing them to clichés or over-simplifying them. It is a film that is full of life, beyond a simple document. And a musical, even if unintentional.

Miguel Marías

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