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Madrid, 1987 is a 2011 Spanish drama film written and directed by David Trueba. It stars José Sacristán as an old, bitter journalist who attempts to seduce a young journalism student played by María Valverde. It premiered at the 2011 San Sebastián International Film Festival.
In 1987, Miguel, an old and bitter journalist, agrees to meet with Ángela, an idealistic young journalism student, for an interview at a local restaurant. Ángela has missed many of her lectures and needs to write an essay; she has chosen to use Miguel as her subject. Throughout the interview, Miguel expresses his contempt for idealism and style. When he reads a sample of Ángela's writing, Miguel dismisses much of it, though he says that she is talented. He asks to keep the sample and invites Ángela to his friend Luis' house. Miguel explains that Luis will be gone until Monday, and they will have the place to themselves. She agrees, and they continue their discussions there over whiskey. Miguel walks over Luis' paintings, and, when Ángela objects, he says that Luis would prefer them to be marred by life and experience. Miguel alternates between cynical advice and derisively ridiculing romantic notions of journalism. Miguel says there are too many layers of glasses between them, he takes off Ángela's eyeglasses and kisses her. She accepts the kiss reluctantly with annoyed expression on her face. Soon, he enters the bedroom and point blank asks Ángela to strip naked. When she balks, he tells her that he has been true to his nature and never hidden his motives. When she turns to leave, Miguel stops her and says that he hopes she will one day respect him for his boldness.
After the lovemaking, the two relax in the bath and express their orgasmic satisfaction. The way they talk becomes more intimate and open. Afterward, Miguel dismisses her feelings of guilt and proclaims himself to have a more developed and profound sense of guilt. Ángela angrily accuses him of egotism, which she says she will write about in her essay. Ángela asks Miguel what he considers her after the two have sex, a curious or a naughty girl. The two become tense when Miguel replies to Ángela that she's naughty, but she thinks it's advanced. They quickly reconcile when a chastened Miguel offers to entertain Ángela with a story. The story, framed as an imaginary film that they are watching at the cinema, is about a boy who refuses to leave his bed under any circumstances. The boy insists that nothing is wrong with him; he simply desires not to leave his bed. When the boy mysteriously disappears, his parents are conflicted as to whether they should be glad he has left his bed or sad that he has run away.
Before Miguel can end the story, Luis returns to rescue them, summoned by a worker who heard their earlier calls for help. Ángela quickly dressed and left. As she passed Miguel, she looked at him hesitantly for a moment before walking out of the apartment and slamming the door. Forgot her glasses on the crayons table. Luis asks Miguel if he will see Ángela again, but Miguel is philosophical. He tells Luis to keep a pair of glasses that Ángela left behind and reasons that if she returns, it will be to Luis' house. The film ends as Ángela walks back to her parents' house.
Madrid, 1987 premiered 22 September 2011 at the San Sebastián International Film Festival.[1] The international premiere was at the 2011 Sundance Film Festival.[4] Breaking Glass Pictures released it on home video on 26 February 2013.[5]
Rotten Tomatoes, a review aggregator, reports that 86% of seven surveyed critics gave the film a positive review; the average rating was 6.6/10.[6] Metacritic rated it 61/100 based on seven reviews.[7] Rene Rodriguez of the Miami Herald rated it 3.5/4 stars and called it "an engrossing study of generational clash inside a locked bathroom."[8] Jonathan Holland of Variety called it a "perceptive" and "ultra-wordy" film that will mostly appeal to Spanish art-house audiences.[9] Sheri Linden of the Los Angeles Times wrote, "The actors give their characters a resonance beyond the symbolic, but the action doesn't quite transcend the stagy setup."[10] John DeFore of The Hollywood Reporter wrote, "An engrossing two-hander combining the smart-talk microcosm of My Dinner With Andre and the sexual dynamics of a Philip Roth novel, David Trueba's Madrid, 1987 is more universal than its title suggests and holds a strong art house appeal."[11] Jon Caramanica of The New York Times called it a "sweet, sometimes dull and certainly overlong film".[12] Fionnuala Halligan of Screen Daily wrote, "It is, in fact, hard to think of a movie less cinematic than Madrid, 1987" and stated that it might make a better play than film.[13] Ollie Coen of DVD Talk rated it 3/5 stars and wrote, "For an artsy movie about two people stuck naked in a bathroom together, you could do much worse. [...] It has a lot to say about youth, love, idealism, sex, and life in general."[5]
The film received a lot of controversy about how it exploited the sexual aspect and nudity scenes most of the film to convey content. The line between porn and art. The sex scene between the two main characters is considered too realistic and controversial. Some doubted the movie's sex scene was real when the female protagonist asked the male lead not come inside her, although this was denied by the producer. The age difference of the two main actors also creates mixed opinions when the male lead is 74 years old and the female lead is 24 years old.
An engrossing two-hander combining the smart-talk microcosm of My Dinner With Andre and the sexual dynamics of a Philip Roth novel, David Trueba's Madrid, 1987 is more universal than its title suggests and holds a strong art house appeal.The pairing of a cultured older man and beautiful young ...
DT: It's the story of a generational encounter between a student of journalism (Ángela) in Madrid in 1987 -- where I was at the same time starting my university studies -- and a very famous and acclaimed journalist (Miguel) at the end of his life. There is a character that said that "we are like two trains, one in the direction of going and the other is coming back and we are stuck in a tunnel for two days." So this is what I wrote about.
LR: There's a significant age disparity between Angela, who is played by María Valverde, and Miguel. Some viewers may object to the relationship and be even quite put-off by the film, despite Angela's definitive power. Have you had any backlash over it?
DT: There is another thing even more difficult than that. There are a lot of references to Spain's politics at the time. Even the title. It has a declaration of contextuality. It says, 'I'm not doing something universal. I'm doing Madrid 1987.' But that is something that was inside me when I made the movie. I didn't want to have the characters as contemporary characters. I wanted to be faithful to what they were. I saw a lot of movies and period pieces where characters had contemporary behavior in the 19th or 16th century and I don't like that. People always portray that a young woman is very liberated or a man is generous but it wasn't like that back then. People were behaving as the characters of their time. We are slaves of the time in which we live. And so I don't care about this manipulation of history. I wanted to be careful about portraying the characters as we were in the 80's.
DT: You always have to create your film knowing that others might feel angry about your perspective but that's good. If your perspective is good for everyone, then it's not a good perspective. Through fiction you can face real life. It makes you more intelligent, less radical and less politically correct. Filmmakers and writers need to maintain the spirit that has made cinema and literature so important because it's true. The moment that it becomes a cosmetic thing that says that only beautiful women or men have sex... that's not true.
LR: You've penned three novels, translated into ten languages. You've written and directed six films now. In fact your documentary, "Balseros" was nominated for an Academy award. Most would say that you've risen to many challenges.
DT: When some people said that "Madrid 1987" is not a commercial movie and that I'd never be able to travel with it or nobody will understand it, I thought, "I don't care. I'm going to make the movie anyway." And I'm here because the Sundance committee watched it and understood it. They felt what I was trying to say.
Madrid 1987 is a claustrophobic two-hander between an acerbic Spanish writer and his young acolyte which could perhaps work as a play, despite the fact that it was apparently written for the cinema. It is, in fact, hard to think of a movie less cinematic than Madrid 1987, with the sharp-tongued newspaper columnist and his mostly-silent partner confined to a tiny bathroom for the most part.
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On a hot day in July 1987, in the vacant city, Miguel, a feared and respected senior newspaper writer, sets up a meeting in a café with Ángela, a young journalism student. From the first instant, there develops between them an unevenly matched duel that encircles desire, inspiration, talent and professional perspectives. Forced to remain together on a very particular day, both will try to survive the emotional friction.
J Paul Johnson is Publisher of Film Obsessive. A professor emeritus of film studies and an avid cinephile, collector, and curator, his interests range from classical Hollywood melodrama and genre films to world and independent cinemas and documentary.
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