‘Start Over’ – Catalog Realism

A few days ago he said that ‘Resistance’ was a film that we can describe through its official synopsis, which was rarely a point in its favor (although it did not have to be against it either): Or because the synopsis does not leave much margin to the imagination of the spectator, or because the film does not advance much beyond said synopsis. Or both, as is the case at hand.

With ‘Start Over’ it happens in a more marked and less concealed way, being the typical film ascribed to British (or in this case Irish) social realism that we associate so much with Ken Loach. Neither the synopsis leaves much room for the imagination, nor does the film go much beyond the synopsis. It is, more or less, in appearance, what we could expect and what we are going to find as appearance.

More or less, because although it appears to be a drama it is much closer to a fairy tale. It seems that he is going face-to-face but in reality he puts himself in profile, dodging the complications and letting the air pass so that only the role of Clare Dunne, its protagonist and perhaps not by chance, also a screenwriter, appears, in addition to the only character who seems to have a life of his own. when he’s not in front of the camera (that is, never).

That is, catalog realism and timely layout. Or from film wrapped as a gift (poisoned). ‘Start over’ is a correct production, rather predictable and superficial. A « well-off » social drama that never looks the viewer in the eye and always goes off on a tangent. Everything is so easy and simple, that it could well be a mere wrapper to give yourself a piece of paper …

A mere packaging that also falls into the temptation of resorting to an unnecessary and festering final blow, which deals an almost fatal blow to his already poor credibility as a handcuffed and castrated social portrait (a).

By Juan Pairet Iglesias