Aware of the fractious nature these car-locked journeys can take on, TTS poses the question – what if the arguments had already occurred and fallout decided. This is the position we are in, mother Ana (Paola Giannini) and father Papa (Francisco Perez-Bannen) have already agreed to separate following this, their final family trip where Papa can check out some inherited land on their way to the coast. Never stated outright, the split is the frission of tension underlining every exchange in the front seats, not that we get to hear. We are in the back with the kids, young Manuel and pre-teen daughter Lucia – our eyes for the journey and occasional witness to her parents’ possible arguments.
Separating the car into two vastly different worlds is something of a masterstroke by Sotomayor. She succeeds effortlessly in plunging us into childhood, regressing us to a time when adult concerns are of little interest and their serious conversations rarely more than glimpsed.
Time passes slowly in the back where games are played, songs are sung and requests come in the form of shouted demands, “I want to go to the beach” shouts Manuel. We become enveloped by memories of those family holidays, endlessly driving for the promise of a beach.
Occasional stops offer a chance to stretch the legs for the family and some time out of the car for the audience. Used by the children as a chance to explore and play at ferocious pace, we are treated to hints at previous quarrels – young hitch-hikers and friends from the past are met with delight and quiet disdain by either adult. The focus here, however, lies away from the action. Lucia’s ever increasing awareness of the situation is based on sightings and moods rather than anything explicit and is excellently handled by Sotomayer.
The impressive camera work and collaboration with cinematographer Barbara Alvarez breathes life into what could otherwise be a claustrophobic affair. The vast Chilean landscape out the window belies the trapped nature of the journey and quickly becomes a character of it’s own - the lunar-like planes bringing a sense of isolation as well as familiarity.
The limited dialogue and near lack of narrative are considered and bold moves for a first time director but there’s a looseness here that ensures it seldom feels restrictive. It is away from the technical aspects that Thursday Till Sunday shines brightest however. This 26 year-old director succeeds in bringing a tone and atmosphere recognisable to all who see it. The childhood traits on show, from inventing secret languages and carefully measuring out drinks to the restless frustration of those long journeys, all ring true and are incredibly well observed. So too are the actions of the parents as tears are slyly wiped away and ‘brave faces’ put on in believable performances from Perez-Bannen and Giannini.
Those fond of a faster paced journey may wish to look elsewhere but Sotomayer has announced herself with an accomplished and elegiac debut.
Matthew Walsh
Rating: 12A
Release Date: 5th April 2013 (UK)
Director: Dominga Sotomayor Castillo
Cast: Santi Ahumada, Emiliano Freifeld, Paola Giannini
Release Date: 5th April 2013 (UK)
Director: Dominga Sotomayor Castillo
Cast: Santi Ahumada, Emiliano Freifeld, Paola Giannini