
¿Estás ahí?
2011

2005
Director
Roberto Santiago
Runtime
100 minutes
Average Rating
No ratings yetSynopsis
Fernando (Fernando Tejero) is a loser. A gray type, without ambition, that works like bookcases distributor in a supermarket of the quarter. In his free short whiles, he is a substitute keeper of a football team, a third regional one. In all the season he has not played a single minute. But the last Sunday of the league the referee indicates penalty and the regular keeper injures itself. Fernando must occupy the goal for the first time. If penalty scores, the team of the district will proclaim champion. If no, all the effort of a year will not have been worth for anything. When the penalty is just about to be kicked, a group of indignant fans with the referee invades the field and prevents the kick. The competition committee decides that the penalty must play the following Sunday, in the same goal, with same players and the field closed to the public. El Penalti más largo del mundo, (The Longest Penalty Shot in the World) is exactly the history of that week of delay.
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The film focuses on a traditional sporting underdog story. There is no evidence of LGBTQ+ characters or critiques of heteronormativity within the narrative.
Gender Representation
The story centers on a masculine-centric sports narrative. The protagonist follows a common comedic archetype of the unambitious man without subverting traditional gender hierarchies.
Racial & Ethnic Diversity
As a regional Spanish production, the film appears localized and conventional. There is no indication of deliberate racial blending or diverse casting within the setting.
Religious & Cultural Diversity
The plot utilizes a Western sporting framework centered on local pride. It relies on established social norms rather than challenging religious or institutional structures.
Disability Representation
A physical injury serves as a plot catalyst for the goalkeeper. However, this functions as a narrative device rather than an exploration of disability or agency.
Strengths
Areas for Improvement
AI Analysis
The film operates as a conventional comedy built on established tropes of the underdog and local community dynamics. It prioritizes a linear, traditional progression of events over the deconstruction of systemic power structures. While the story captures the idiosyncrasies of an 'everyman,' it lacks the intentionality required to implement intersectional frameworks. The narrative architecture remains rooted in standard social depictions and localized settings. Ultimately, the film functions as a character-driven piece that adheres to traditional storytelling values rather than seeking to disrupt social hierarchies.

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