‘El cover’ is the debut as a scriptwriter and director of Secun de la Rosa, known forever as Tony, Mauricio Colmenero’s gay brother. A well-intentioned debut and with the clear intention of becoming a “happy place” but with not a few problems, who knows if on his own initiative or because of circumstances, this being one of the many shootings to which “the damn covid” left in half (or left half?).
It is clear that the film wants to pay tribute to those who make up the B-side of live music: People who never become someone and earn their living as best they can by emulating those who are. Those 15 minutes of glory reformulated as 15 minutes of happiness. Those few minutes a day, a week or a month during which we can daydream. And not so deep the city of Benidorm as one of the band.
A romantic and musical fable that is precisely saved from his limp by going straight ahead. Sometimes good intention counts … something. From the beginning, until the end, it is clear what kind of relationship he intends with the viewer, even if he only gets to earn it or deserve it very occasionally. The intention saves her from her own ills, that of a juicy approach kicked off by her rough performance on stage.
‘The cover’ is an artifice that not only lacks credibility as such, but also allows the luxury, in the name of love, to waste and squander what it already has. The ideas and the ingredients are scattered on the table but hardly developed more than just enough, and only the basic thing so that it is the actors who get us a knowing smile with their mood, not with the melody.
A disappointing melody that makes ‘El cover’ a bittersweet pastime that one is left wanting to respect or love. As he is left with the desire for more music, more Benidorm or more Carolina Yuste. With the desire of that film that ‘The cover’ only manages to appear to be during the eye, no more than 15 minutes. Insufficient to transform this “version” of the film into a version with its own entity.
By Juan Pairet Iglesias