
Me, Them and Lara
2010

2011
Director
Toni Bestard
Runtime
92 minutes
Average Rating
No ratings yetSynopsis
The mysterious arrival of a foreigner to a small village in a Mediterranean island, awake the sudden interest from a diverse group of residents, who will appear unexpectedly in the stranger's life, believing that he's going to reopen an old shop. In contrast, the real intentions of the stranger are hidden behind an old Polaroid photo, which has led him to that place in search of answers.
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The film maintains a neutral baseline typical of regional Mediterranean dramas. There is no explicit evidence of non-cisnormative identities or narratives that critique heteronormativity.
Gender Representation
The story centers on communal dynamics rather than gendered subversion. It lacks specific portrayals of deconstructing traditional masculinity or challenging established gender hierarchies.
Racial & Ethnic Diversity
A diverse group of residents provides a localized Mediterranean context. The arrival of a foreigner introduces ethnic distinction and explores the concept of the 'other' within the community.
Religious & Cultural Diversity
The narrative explores the tension between individual truth and communal myths. It examines how personal history intersects with the economic and social expectations of a small village.
Disability Representation
The available information provides no mention of characters navigating physical, sensory, or neurodivergent experiences.
Strengths
Areas for Improvement
AI Analysis
The film functions as a character-driven study of a closed Mediterranean community disrupted by an outsider. It uses the stranger as a catalyst to explore how residents project their own desires and histories onto a newcomer. While the narrative offers a nuanced look at social motivations and the subjectivity of truth, it lacks explicit intersectional complexity. The focus remains on interpersonal connections and the tension between private intent and communal expectation. Ultimately, the work follows a traditional dramatic structure. It does not appear to make documented efforts to dismantle systemic hierarchies or provide a progressive critique of social institutions.

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