'Nueces para el Amor' would but be a mere love story, though not in the North American sense, if it were not for several elements that raise this film above such simplistic definition. Life itself is full of fateful events, usually uncontrollable, such that flighty destiny can waylay one at any moment. In this respect, this film can be compared a little with 'Los Amantes del Círculo Polar' (Julio Medem) (qv), not for its content, and even less for its style, but for the way in which capricious fate can play on people's lives. Whereas Medem employs symbol-laden palindromic structures, with great effect, Lecchi's film is lineal spread over many years and its uses of symbolism are much more limited: walnuts (nueces) appear a couple of times in the film well before the connection with the film's title becomes apparent toward the end.
What most stands out for me in this film is the convincing parts played out by the leading actors, Ariadna Gil, who has long since assured me she is about the best actress in film-making in Spain today (qv her mini-biography), and an excellent Gastón Pauls opposite her. Good chemistry here, passionate interpretations from both players, such that some of the scenes are quite memorable. Some improvement in the dialogues might well have enhanced the film. Truly amazing is Señorita Gil's use of a really authentic 'porteño' accent as used in Buenos Aires. But, as I have said elsewhere on IMDb, she is first choice to play 'impossible parts', as she has shown in excellent films such as 'Malena es un Nombre de Tango (qv), 'Tranvía a la Malvarrosa', 'El Embrujo de Shanghai' (qv) and especially in that magnificent drama 'Lágrimas Negras' (qv).
Gastón Pauls, despite being a few years younger than Ariadna Gil, rose to the occasion: good chemistry and empathy combined to produce a credible result, and I must congratulate him for his effort and concentration in managing to come out really well opposite this truly remarkable Spanish actress.
A somewhat quirky element in this film is the different photography techniques used in the different time periods of the film.
'Nueces para el Amor' is not a simple 'love story': I would not bother writing about it if it were.
What most stands out for me in this film is the convincing parts played out by the leading actors, Ariadna Gil, who has long since assured me she is about the best actress in film-making in Spain today (qv her mini-biography), and an excellent Gastón Pauls opposite her. Good chemistry here, passionate interpretations from both players, such that some of the scenes are quite memorable. Some improvement in the dialogues might well have enhanced the film. Truly amazing is Señorita Gil's use of a really authentic 'porteño' accent as used in Buenos Aires. But, as I have said elsewhere on IMDb, she is first choice to play 'impossible parts', as she has shown in excellent films such as 'Malena es un Nombre de Tango (qv), 'Tranvía a la Malvarrosa', 'El Embrujo de Shanghai' (qv) and especially in that magnificent drama 'Lágrimas Negras' (qv).
Gastón Pauls, despite being a few years younger than Ariadna Gil, rose to the occasion: good chemistry and empathy combined to produce a credible result, and I must congratulate him for his effort and concentration in managing to come out really well opposite this truly remarkable Spanish actress.
A somewhat quirky element in this film is the different photography techniques used in the different time periods of the film.
'Nueces para el Amor' is not a simple 'love story': I would not bother writing about it if it were.