Hill on the screen

The first thing to celebrate Our Father It's the normality of being able to go to the cinema to see a historical episode whose protagonist is someone who was president of a country for 23 years. In any democracy in the world, a drama like the death of Jordi Pujol, the most important Catalan politician of the last quarter of the 20th century, would have interested the film industry, and this is a credit to Toni Soler, who has long since normalized political satire on television.

Our Father It has as many layers as Jordi Pujol's life, which makes it a very dialogue-intensive film and full of details, rather than nuances, which would have required a tempo. A more composed narrative, impossible when the film's ambition is to explain, from childhood to old age, the psychology of a man who became a father of his country, and to do so with the clear intention of leaving nothing out, neither the most unspeakable nor the most sublime. The result is a portrait as harsh as the events themselves, but as plausible as it is unchallengeable.

Rarely has the term "interpretation" been so appropriate to define Josep Maria Pou's portrayal of Pujol, without imitation or parody, the same can be said of Carme Sansa in the role of Marta Ferrusola. As a colleague told me at the end of the premiere, it's a film about the sad human condition, even more so when the protagonist is a politician with absolute majorities, who has believers rather than voters, but also about the sad realization that in Spain the sewers do the dirty work and the legal system makes distinctions between inviolable and inviolable. Especially if they are Catalans who one day claim they no longer have any arguments to oppose independence.