
The Return
2011

Representation Score
Good
1989
Director
Fernando Fernán Gómez
Runtime
102 minutes
Average Rating
No ratings yetNew Showbiz Analysis
Fernando Fernán Gómez presents a somber exploration of social and temporal displacement. The film excels by challenging cultural and gendered expectations, avoiding a sanitized or patriotic view of the Spanish experience. However, the narrative lacks demographic diversity. Focusing on a localized, homogeneous Spanish context results in limited representation of racial and LGBTQ+ identities. Ultimately, the work finds its strength in psychological depth and the critique of established social orders, despite its narrow casting.
Category Breakdown
The film does not include any explicit LGBTQ+ characters or situations involving non-straight relationships. The story centers around a traditional family dealing with political exile.
Marcela challenges traditional gender roles by depicting a woman struggling with alcoholism and social decline. This provides a complex, tragic view of female vulnerability rather than idealized motherhood.
The drama focuses on the aftermath of the Spanish Civil War, with a cast reflecting a homogeneous demographic typical of the time.
The film critiques national identity by highlighting the sadness of the war's losers. It portrays the protagonist's return to Spain as a source of alienation rather than triumph.
A youngest family member is described as unable to understand the others. It is unclear if this represents cognitive differences or a metaphorical inability to comprehend political trauma.
Present on Screen
Limited or Absent
Official Synopsis
Jesus returns to Spain after a long exile in Argentina. The family he meets is very different from the one he left: they live under the sadness of being the losers of the war, Marcela, before a beautiful young woman, is now an alcoholic, and the youngest can not even understand them. Jesus wants to start a new life in Spain but he feels out of place; Time has turned him into an inhabitant of the other side of the 'puddle'.

2011

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