‘Ilargi Guztiak. All the moons’ – The end of innocence

Outstanding image

‘All the moons’ is the story of a conviction. The condemnation of living forever, without anyone to make the passing of the years more enjoyable and seeing how everyone around you evolves and dies … except you. The story of a doomed girl, who before even knowing what the world is, has to wander through life in search of her raptured death, thus beginning a long journey towards acceptance: Acceptance of life as a complex and unpredictable process who can only be given perspective through age and death.

Taking as a starting point the myth of vampirism, the film offers a naturalistic approach to a story with existential concerns. It is not a horror film, but a romantic story adorned with an opportune fantastic background that reflects on our desire to endure, to transcend. That precious reward that religions usually offer in exchange for a life given to faith, apparently far from the shadows and that protects us, or at least tries to do so from the fear of that death, merciless, cruel and inhuman.

‘All the moons’ is a meritorious and well-intentioned story that under its 19th century literary appearance combines exponents of the genre such as’ Interview with the vampire’ or ‘Let me in’ with much more “village” productions such as’ Cows’ or ‘Secrets of the heart ‘. All this with an undoubted Basque flavor and accent that refers to titles such as ‘Errementari (The Blacksmith and the Devil)’; at least, on the surface and with regard to the solid audiovisual finish, that magical halo of a story that surrounds it, or its commitment to indigenous folklore.

‘All the moons’ however does not sign his good intentions nor does it manage to delve into our emotions. Its division into three distinct parts does not help; partly due to a linear development without surprises or the absence of a scene that breaks the dynamics; partly because the third act has to “jump” over the second to link up with the first. A very correct and well-mannered work starring a very convincing girl, but lacking that “spark” that can give warmth to a rural environment of pristine coldness.

By Juan Pairet Iglesias


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