(Scenes shot through Bruno’s lens are in colour, suggesting that art is more real than life - a spot of postmodern playfulness that Bagney, who always has Ramona express herself more authentically when addressing Bruno’s camera, wants to revive.)īruno wants Ramona in the film because he fancies her she turns him down because she wants to be recognised for her abilities. They say their goodbyes but, embarrassingly wearing a blond wig, Ramona then shows up at a casting session for a film that Bruno happens to be directing. Ramona is set up as neurotic, fragile and unfocussed.
Ramona strikes up a bar chat with older Bruno (Bruno Lastra, tall and grey-bearded, like an impersonator of the Spanish king) in a delightfully lively conversation that touches on climate change, anxiety and the evils or otherwise of smoking. Ramona (Hernandez) - named, we learn, after the Bob Dylan song of which her parents were a fan - is a nanny and translator, living with long-suffering chef Nico (Francesco Carril). The over-the-credits images signal that this will be a homage to the Spanish capital, as we’re treated to a range of lovingly composed shots of Madrid landmarks (including, for nostalgic football fans, one of the old Atlético de Madrid stadium being demolished).
Hernandez is always an engrossing presence in a role that demands a variety of registers Built around an eye-catching performance from Spanish multi-hyphenate Lourdes Hernandez (best-known in Spain as the singer Russian Red), Ramona’s blend of a quirky and engaging heroine with the cinematically nostalgic and the emotionally up-to-date has led to a pickup by Best Friend Forever ahead of its appearance at KV’s new Proxima competition, with further festival appearances likely.
The spirit of the French New Wave lives on in Andrea Bagney’s feature debut Ramona, a Madrid-set, black-and-white take on the identity struggles of a budding female actor that charms and infuriates by turns.
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