Spanish director Carla Simón, known for her impactful storytelling, returns with her latest film, Romeria. Following her success at the Berlin Film Festival with Alcarras, Simón’s new work was showcased at the International Film Festival of Kerala. While Romeria is her most personal film to date, it grapples with complex themes that occasionally feel disconnected.
Romeria unfolds through chapters that build its narrative world. The story centers on Marina, played by newcomer Llúcia Garcia, who discovers her enrollment in a cinema program is hindered by missing family documentation. Her father’s absence in official records prompts her exploration of her family’s history and, ultimately, her own identity.
Throughout the film, Simón weaves autobiographical elements into Marina’s quest for truth. As she meets her father’s relatives, the discrepancies in their recollections become apparent, with her uncle Lois (portrayed by Tristán Ulloa) offering a rare sense of empathy. This search is not just about familial connections; it also reveals underlying tensions that complicate her journey.
Visually, Romeria is captivating, thanks to the exquisite cinematography of Hélène Louvart. The film integrates voiceovers from Marina’s mother’s diary entries, adding depth to her introspections and enriching the narrative. The film vibrantly encapsulates Marina’s odyssey while tracing broader historical contexts, including reflections on the AIDS crisis. However, the characterization lacks depth, and Marina’s eventual revelations don’t carry the emotional weight they should.
In its final act, Romeria takes a noticeable shift that feels somewhat forced. While the film aims to delve into issues like substance abuse, it does so in a manner that lacks curiosity and fails to connect with larger socio-economic themes. Simón’s exploration of the past, while intriguing, does not fully engage with the necessary gravity and conflict.
Despite moments of emotional resonance, Romeria ultimately falters in delivering a cohesive message. The complexities of the past are present, yet the film does not fully engage with them, leaving viewers with an unfinished narrative that hints at deeper realities yet to be explored.