La bola negra Review: An Ambitious but Overwhelming Tribute to Lorca

The filmmaking duo Javier Calvo and Javier Ambrossi, collectively known as Los Javis, have entered the competition for the Palme d’Or at the Cannes Film Festival for the first time with their new film, La bola negra. While the directors have previously established a reputation for a distinct and unwavering authorial voice through television series such as Paquita Salas, Veneno, and La Mesías, their second feature film is characterized by an ambition that often exceeds its execution, resulting in a work that feels overwhelmed by its own lyrical aspirations.

The film is structured around three intersecting narratives and time periods, blending literary adaptations with original storytelling. The first narrative takes place in 1932 and is an adaptation of an unfinished play by the poet Federico García Lorca, also titled La bola negra. In this segment, a young man, played by Hugo Wezel, attempts to become a member of a casino but is rejected during a voting process involving white and black balls because of his homosexuality.

The second story is set in 1937 during the Spanish Civil War. This segment transforms the play La piedra oscura by Alberto Conejero into a meeting between two soldiers: a clumsy Francoist soldier with repressed sexuality, played by Guitarricadelafuente, and a Republican soldier, Rafael Rodriguez Rapún, played by Miguel Bernardeau. Rapún is identified in the narrative as having been a partner of Lorca.

The final narrative is set in 2017 and centers on Carlos González, a playwright who investigates the past of his recently deceased grandfather despite the reluctance of his mother. The source describes the performance of the actor playing González as the strongest among the protagonists.

Artistic Execution and Pacing

With a total runtime of 155 minutes, La bola negra struggles with its pacing. The three temporal planes interrelate with varying degrees of success; while some transitions are fluid, many others feel forced. The film’s length allows for certain standout sequences, including a flamenco musical number that blends traditional movements with modern dance, and a scene featuring Penélope Cruz as a cabaret performer, which are cited as the film’s high points.

Outside of these moments, much of the film is described as falling between the predictable and the repetitive. The pursuit of lyricism is often unsupported by the imagery, which relies on familiar tropes such as the homoeroticism of military life and the epic nature of forbidden physical contact between longing lovers.

The central story is noted for an academic flatness reminiscent of the style of director Alejandro Amenábar, while the Lorca adaptation employs a supernatural voice-over that evokes the stylistic choices of Isabel Coixet.

Performances and Influences

The 2017 storyline is identified as the segment that best aligns with the signature style of Los Javis. This portion of the film includes a performance by Lola Dueñas, who is described as handling a heavily utilized role with poise, and an appearance by Glenn Close, who is noted for her mastery of the Spanish language.

The directors also incorporate references to Pedro Almodóvar and Bigas Luna’s successor, Ventura Pons, or more specifically, the genealogy of Spanish cinema including Medem. These references are viewed as successful attempts to place the film within a specific cinematic lineage. In the 2017 plot, the family tragedy associated with Lorca is updated in a way that avoids lyricism, mirroring the poet’s own stated desire for his work to be without a hint of lyricism.

La bola negra attempts to address the historical erasure of dissident romances in Spain. Here’s underscored by a quote from Lorca within the film, stating that Spain has many love stories buried in the fields.

Despite the directors’ avoidance of academic conformity, the film is criticized for not digging deep enough into its subject matter. While it seeks to do justice to the memory of prohibited romances, the thematic territory has been extensively explored by others, and the film’s approach is described as lacking the sharpness required to uncover new depths.