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VICKY CRISTINA BARCELONA
Release date: August,15,2008
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VICKY CRISTINA BARCELONA
Release date: August,15,2008
On January 27, 2009, the Weinstein Company and Genius Products released Vicky Cristina Barcelona on DVD and Blu-ray. The Woody Allen film revolves around two American women on a carefree Spanish holiday who meet a charming local painter and become enamored by him, only to have his intensely passionate ex-wife reenter his life and stir up trouble. It will contain bonus materials and extra features, though none have currently been announced, and the DVD will be available for the MSRP (Manufacturer's Suggested Retail Price) of $28.95, while the Blu-ray will be available for the MSRP of $34.99.
TV Video Captures
Movie Photos
Official Movie Trailer #1
Movie Trailer #2
MOVIE REVIEWS
Vicky, Cristina, Barcelona and Woody
Perhaps only in Cannes would hundreds of people crush into lines, beg for tickets, offer to rent various body parts, for the chance to see the new Woody Allen film.
The 72-year-old writer-director is long past his renown as America's wryest, most prolific auteur, let alone the King of Anarchy title he achieved with his early, funny movies; that Allen keeps making films is deemed by most of his compatriots an act of will, almost defiance, by a man whose genius evaporated some time in the late '80s.
He still has loyal admirers in Europe, though, as was proved by the urgent mob waiting to see Vicky Cristina Barcelona, and by the warm applause when it ended. After the screening we ran into one of his champions: Michel Ciment, the doyen of French critics. "You still go to Woody Allen films?" asked Michel in mock or mocking surprise. He was just setting us up for a pronouncement: that whatever Allen's current reputation, years from now people will take a retrospective look at the 40 some films he's made and proclaim him as part of a holy trinity of movie comedy with Ernst Lubitsch and Billy Wilder. Well, maybe not in that empyrean, but arguably in the ballpark. It's hard not to feel warmly toward Allen after VCB, his first vital movie since Match Point three years ago (we quickly throw the veil of oblivion over Scoop and Cassandra's Dream), and maybe his most engaging large-scale effort since, let's say, Crimes and Misdemeanors nearly 20 years ago. It doesn't percolate with the inventive comic situations or quotable one-liners of the films that established his meta-movie credentials, Annie Hall and Manhattan; but, like them, this one is about people whose jobs are incidental to their real vocations of falling in love and messing things up. With seven major characters, five of whom have affairs during one Spanish summer, VCB is a God's-eye view of the thesis that "only unfulfilled love can be romantic."
The title characters are two American women and a one very romantic city. Vicky (English stage actress Rebecca Hall, who was the beguiling pawn of two magicians in The Prestige) wrote her master's in Catalan Identity. Before marrying businessman Doug (Chris Messina), she has come to Barcelona to spend July and August with a welcoming relative, Judy (Patricia Clarkson), and Judy's husband Mark (Kevin Dunn). Vicky has brought along her friend Cristina (current Woody muse Scarlett Johansson), who is restless emotionally and artistically. She has the impulse to be creative she starred in and directed a 12min. film but not, at least so far as she can locate it, the talent. Vicky is immediately attracted to a local painter, Juan Antonio (Javier Bardem, this year's Oscar winner for No Country for Old Men). He is one of those artists, found mostly in fiction (and in the fantasies of artists), whose true vocation is mixing up the hearts of the many women who fall into his bed. Their avid emotions are the canvas on which he splashes the bright strokes of his evanescent ardor. Cristina, ready for an adventure, lures the painter to her and Vicky's table, and Juan Antonio, ever the gracious roue, proposes that the Americans accompany him to the town of Oviedo. "We'll eat well, we'll drink good wine, we will make love." "Who will make love?" asks Vicky with a schoolmarm's moral skepticism. "Hopefully, the three of us," he purrs.
In Oviedo, Juan Antonio briskly, suavely, steers Cristina to his hotel room. He hardly needs to use all his seductive talents; Cristina is eager for a night with a Latin lover. ("If you don't start undressing me soon," she tells him, "this is going to turn into a panel discussion.") But a bout of stomach poisoning breaks Cristina's mood, and she must convalesce the rest of the weekend.
That leaves Juan Antonio with the disapproving, and spoken-for, Vicky. She is one of those females, rife in the Allen canon, whose insecurity is expressed as hostility to men; she castrates, or at least circumcises, them with every cutting word. And Hall, with her flawless American accent, is equally persuasive at inhabiting, not just miming, the stammering tenseness of the traditional Allen heroine.
No less than Henry James, Allen is judgmental of Americans abroad they betray a sexual naivete when exposed to a society so much more practiced in the art of gracious loving. And no less than Vicky and Cristina, Allen is almost star struck by the Spaniards, and the Mediterranean ease in forming, then releasing, sexual liaisons. The hallmark of his characters is the fumbling confession of furtive love; but in this idealized Catalonia, where nothing romantic is forbidden, everything is beautiful, as natural as breathing in sync with the woman who has fallen asleep in your arms.
Well, why shouldn't Allen have a crush on Juan Antonio? For one thing, he dreamed the character up; for another, Bardem doesn't have to work hard to radiate the sensitive machismo of a man who doesn't use women so much as he allows them to briefly fulfill their dreams in him. Visually, too, the movie is in love with Barcelona, its gnarled Gaudi buildings, and with the countryside of Ovieto, a hundred shades of glorious earth tones. (The cinematographer is Javier Aguirresarobe, who has shot films directed by Pedro Almodovar, Victor Erice and Alejandro Amendabar.)
It is in Ovieto that Vicky meets Juan Antonio's ancient father, who writes beautiful poetry but refuses to publish it, believing that a world that has not learned how to love does not deserve his art. We've saved the most vibrant character for last: Maria Elena, which Penelope Cruz turns into one of her boldest, fullest characters. A painter so sexy that Juan Antonio's father still has erotic dreams of her, Maria Elena had been Juan Antonio's muse, competitor and wife; their turbulent marriage ended when she tried to kill him. Of course she shows up, once her ex has set up house with Cristina, allowing Allen to run further amorous permutations.
Whenever Bardem or Cruz are on screen, VCB finds its heart. It sees them as fully in tune with their feelings: totally willing, and why not?, to act on impulses they've learned to trust. The Americans are children by comparison, a little stiff, so conditioned to overanalyzing every attraction that they would lose the moment if only there weren't a Don Juan Antonio to send seismic shivers up their consciences.
The movie is narrated in an American voice (not Allen's) that is pitched slightly above all the characters. The voice knows Vicky and Cristina best, but you know it wants to live with, possibly bed down with, cosmopolitan Juan Antonio and crazy Maria Elena. The film's narrative voice doesn't take any of these liaisons too seriously. That is the movie's sunny strength and its ultimate limitation since life is not perhaps simply a series of bed partners from whom we discover that the greatest wisdom is realizing we always have more to learn from others, and about ourselves. But Vicky Cristina Barcelona is so engaging so much of the time that we can entertain Allen's proposition. It's certainly evidence that a summer in Spain can do wonders for a writer-director who may not have outlived his prime.
Sunday,May 18, 2008
Vicky Cristina Barcelona
Only a matter of weeks ago, critics were calling for Woody Allen to step away from the camera and retire gracefully before his run of turkeys (recently culminating in the lamentable Cassandra's Dream) threatened to destroy altogether the good will his past glories had accrued. Then Vicky Cristina Barcelona premiered out of competition in Cannes, effortlessly seducing the jaded, cranky, hungover press audience within the first ten minutes. What a difference one film can make. Woody is back (again).
The film, Allen's first to be set and filmed in Spain, is frothy, sexy fun. It's not up there with his career greats , but it has a lightness of touch and a sense of mischief which has been missing from his films of late. It feels like the making of it was a joy for the director rather than a chore, and consequently the same is true for the audience.
Vicky (an impressive Rebecca Hall) and Cristina (Scarlett Johansson, looking a little uncomfortable with her platinum dye-job) are a pair of young American women whose close friendship since childhood has done nothing to lessen the gap between them when it comes to their attitudes towards matters of love. Vicky is looking for comfort, security, respect and – ideally – access to an expense account. Cristina, meanwhile, has dedicated herself to the pursuit of an illusive grand passion, with all the agonies and uncertainties that entails. An overused and slightly irritating voiceover informs us that, although Cristina is not sure of what it is she wants, she knows what she doesn't want.
The two women are spending the summer in Barcelona, staying with Vicky's aunt (Patricia Clarkson). Allen squeezes every last atmospheric drop of inspiration from the photogenic city. His ‘kid in a candy store’ approach to Gaudi's architecture could have been corny, but for the fact that it mirrors the girls’ giddy excitement at their temporary home.
At an art gallery, the women meet Juan Antonio (Javier Bardem), a dangerously charming painter. Cristina is smitten; brittle Vicky has reservations. Nonetheless, it's Vicky who first sleeps with him, despite her protestations of loyalty to her fianc. Juan Antonio transfers his attentions to Cristina and she moves into his house, basking in his bohemian lifestyle. Here, the film effectively splits into two parallel stories.
Vicky and her fianc meet with golf playing ex-pats; Cristina has to deal with the arrival of Juan Antonio's gorgeous, volatile ex-wife Maria Elena (a furiously funny turn by Penelope Cruz). Cruz's entrance into the film ramps up both the laughs and sex. She fixes a smoky-eyed glare on Cristina and rattles an attack in machine-gun Spanish, but gradually they find common ground. A three-way clinch between her, Bardem and Johansson is a screen-scorchingly sensual moment. Allen can't be losing his touch entirely if he can still persuade three of the hottest people on the planet to make out for our viewing pleasure.
Vicky Cristina Barcelona Review
It's a pleasure to report that after many years of eagerly waiting, Woody Allen has finally made a good, entertaining"-and for a change commercial-"picture, "Vicky Cristina Barcelona," a romantic comedy set in one of Europe's most romantic and special cities. Arguably, with the notable exception of "Match Point, a decent but not great dramatic thriller, Allen has not made a distinguished film that bears his personal signature since "Bullets Over Broadway" (1994), 14 years ago! And coming right after his London-set mediocre flicks, such as "Scoop," new achievement is all the more impressive--a return to form.
His new erotic comedy, essentially a breezy divertissement, should not be placed in the league of his more substantial masterworks, "Manhattan" or "Hannah and Her Sisters," but in terms of theme, approach, style, and tone, "Vicky Cristina Barcelona" (VCB from now, with apologies for abbreviating) represents a love poem to the Spanish city in the same way that his 1970s works (including "Annie Hall") were for New York City's Manhattan.
VBC received its world premiere out of competition at the 2008 Cannes Film Festival, and the Weinstein Company will release the romantic comedy later this summer. With the right handling and positioning, VCB could become a hot date movie, bringing more audiences to the theater than to any of Allen's recent pictures.
Set against the luscious sensuality of Barcelona, VCB is Allen’s funny, bright, and witty meditation on love, in all its romantic and sexual exhilarations and heartache, in all its intriguingly elusive and inherently mysterious nature. In a year-"particularly this summer-"in which most of the big actioner, comic-strip adventures, and sequels are special-effects driven and decidedly male-oriented, it's refreshing to see a smaller, more intimate work that revolves around women. Though not labeled a woman's director in the way that George Cukor was, Allen has done more for women than most of his cohorts. In the new picture, there are no less than four gorgeous, intelligent and beguiling women, including a new discovery, Rebecca Hall who, with her patrician looks, height, elegance and even delivery recalls the young Diane Keaton in Allen's work of the 1970s and early 1980s. The other three are Scarlett Johansson, Allen's muse and frequent star over the past decade, Penelope Cruz, who give the film's outstanding performance and should be considered seriously for the Supporting Actress Oscar (and other kudos) at year's end, and the always reliable Patricia Clarkson, as the mature and wise married femme.
That said, at the risk of belittling or trivializing the film, VCB belongs to the subgenres of "Girls Just Want to Have Some Fun" and "American Women Abroad," types of films that go back to the 1950s with such schmaltzy classics as "Three Coins in the Fountain," set in Rome, or the more serious and solid, David Lean's "Summertime," set in Venice and starring Katharine Hepburn as an American spinster-teacher who falls for a local (married) man.
With the exception of Clarkson, in Allen's picture the femme are in their twenties (Hall and Johansson) or thirties (Penelope Cruz), young enough to engage in erotic explorations and to experiment with different forms of romance before they get married and settle down.Allen’s serio-comic tale revolves around two young American women and their amorous escapades in Barcelona, one of the world's romantic cities. A male voice-over narration places the protags in context and continues to describe and comment on their mischievous actions and inner thoughts throughout the film, landing it the tone of a fable.
Vicky (Rebecca Hall) and Cristina (Scarlett Johansson) are best friends, who share many things in common"-except their radically different attitudes towards love. Vicky is sensible and engaged to a respectable young man, Doug (Chris Mesina), a narrow-minded yuppie who's rational and logical and mostly talks about investments and the right apartments for them to live. Well-groomed, wearing Polo and Lacoste shirts and khaki pants, and endlessly on his cell immediately places Doug in the snobbish upper-middle class.
In contrast Cristina is sexually and emotionally uninhibited. However, insecure, she perpetually searching for a passion that will sweep her off her feet. She knows more what she doesn't want than what she wants.
When Judy (Patricia Clarkson) and Mark (Kevin Dunn), Vicky's distant relatives, offer to host them for a summer in Barcelona, the two girls eagerly accept: Vicky wants to spend her last months as a single woman doing research for her M.A thesis on Catalan culture, and Cristina is looking for a change of pace to flee the damaging wreckage of her last breakup.
One night at an art gallery, Cristina instantly locks eyes on the most intense and provocative man in the room, Juan Antonio (Javier Bardem), a handsome painter, wearing a red shirt. Cristina becomes more intrigued when Judy whispers that Antonio had such an explosive relationship with his ex-wife Maria Elena (Penlope Cruz) that one of them tried to kill the other.
Fate interferes: Later that night, when Vicky and Cristina are having dinner, Antonio approaches their table with a brazen proposition: fly with him for a weekend trip to the provincial town of Oviedo, where he suggests they explore the cultural wonders, drink fine wine, and make love together. Vicky finds his proposal obnoxious and preposterous, but Cristina is enchanted by his directness and charisma, and persuades Vicky to accompany her, claiming, "You've got to admire his non-bullshit approach."
During a day of sightseeing and fine dining in Oviedo, Juan Antonio speaks in reverential terms about the magnificent Maria Elena, the great love of his life. Despite their profound connection, their passions ran too high for them to be together. Once, things got so cataclysmic that Maria Elena stabbed him in a mad fit of jealousy.
That night, Juan Antonio invites the girls to his room"an offer Vicky adamantly refuses and Cristina willingly consents to. But just as Cristina and Juan Antonio are about to fall into bed, Cristina becomes ill, and it’s Vicky who spends the remainder of the weekend alone with him. Juan Antonio takes Vicky to meet his father and opens his heart about his childhood hopes and his turbulent relationship with Maria Elena. Perceiving a deeper side to him, Vicky gradually sheds her misgivings, and during the romantic night before they leave Oviedo, Vicky and Juan Antonio make love.
After returning to Barcelona, Vicky can’t stop thinking about Juan Antonio. Meanwhile he directs his romantic attentions to the available and willing Cristina, who soon moves in with him. When Vicky expresses her disappointment, he points out that as she’s engaged, it would cause needless pain for everyone if they continued.
Indeed, Vicky’s fianc Doug (Chris Messina) arrives in Barcelona early, and the two are soon married.
As Cristina and Juan Antonio settle into a dreamy life together, one night he is awakened by an alarming phone call"Juan Antonio’s ex-wife Maria Elena is at the hospital after a suicide attempt. Returning home with the dazzlingly beautiful and tempestuous Maria Elena, Juan Antonio explains to a stunned Cristina that she will have to stay with them for a few months, as she has nowhere else to go.
Jealous and suspicious, and subject to wild mood swings, Maria Elena misses no opportunity to bicker with Juan Antonio and put Cristina down. In time, she becomes more relaxed and settles into a warmer relationship with Juan Antonio and even mentors Cristina’s pursuit of photography.
Maria Elena tells Cristina that she is the “missing ingredient” that allows her to live happily with Juan Antonio. In a transition that is tranquil and natural, the three of them become lovers.
By chance at a party sometime later, Vicky sees Judy kissing Mark’s business partner. After Judy tells Vicky that she hasn’t been in love with Mark for years, Vicky reveals her feelings for Juan Antonio. Determined to rescue Vicky from her own fate, Judy tries to bring Vicky and Juan Antonio together. Meanwhile, Cristina, true to her nature, starts to get restless. As the summer draws to a close,
Vicky and Cristina learn some hard lessons about love and about themselves"at least for a while.
Allen's writing relies on cultural and natural stereotypes, particularly in the case of his Spaniard thesps. Though both Bardem (in a radical change of pace from his Oscar-winning turn in "No Country for Old Men") demonstrates a wider range than given credit for, convincingly play a suave Don Juan, his character is very much in the mode of Hollywood's French-Latino lovers, dating back to Gallic Charles Boyer and Louis Jordan and Italian Rosanno Brazzi and Marcello Mastroianni.
Similarly, the enchanting Penelope Cruz, who looks terrifically sexy (even when she is angry), plays a role that draws on the tradition of sexy and strong Italian movie stars, such as Anna Magnani and Sophia Loren (but not Gina Lollobrigida!), as she did in her Oscar-winning turn in Almodovar's "Volver."
Moving rapidly, and unlike "Sex and the City" occupying the proper duration (95 breezy minutes), "Vicky Cristina Barcelona" is not a particularly deep film. Indeed, its observations about love and sex, while ringing true, lack freshness and have been stated before, by Allen himself, among other auteurs. But the tone is almost always right and the women, even the hysterical and neurotic ones, are so charming that you watch the film with good faith and a big smile, from the beginning all the way to the saga's logical conclusion. Perhaps the best compliment I can pay this romantic comedy is to say that Spaniard auteur Pedro Alomodvar, who resides in Madrid but adores Barcelona, would approve of Allen's work.
May 16,2008
Cannes Review: Vicky Cristina Barcelona
I've said before that a new film from Woody Allen is something like getting a Christmas gift from your eccentric aunt; you never know if you'll get a crocheted toilet paper cozy, or a piece of priceless heirloom jewelry. Fortunately, Allen's newest film, Vicky Cristina Barcelona, turns out to be more like the latter. The story opens with Vicky (Rebecca Hall) and Cristina (Scarlett Johansson), two best friends heading to Barcelona for eight weeks of fun.
Vicky's distant relations Judy (Patricia Clarkson) and Mark (Kevin Dunn) live in Barcelona, and have invited the girls to spend the summer there, where Vicky will do research for her Masters and Cristina will soak up the local culture. Vicky is engaged to be married to Doug (Chris Messina), a stalwart, likable, but rather boring young man, and Cristina is recovering from her latest breakup and looking for an artistic outlet for her pent-up creativity.
At an art gallery event, Cristina's eye is caught by a dashing painter, Juan Antonio (Javier Bardem). His eyes smolder at Cristina from across the room; she's intrigued, and asks Judy and Mark who the man is. They reply that he's a painter, and that there was some sort of gossip surrounding the breakup of his marriage -- something involving violent fights and someone getting stabbed.
That this is enough to make Vicky not want to know more about him, while Cristina is all the more entranced, tells us much about the two girls. Later that night, Vicky and Cristina see Juan Antonio at a restaurant. Again, smoldering eye contact ensues, and Juan Antonio swaggers over to their table, introduces himself, and then promptly invites both girls to join him for a weekend jaunt to Oviedo, where, he suggests, the three of them might enjoy some excellent dining, take in the splendid local scenery, and perhaps engage in some passionate lovemaking.
Responsible Vicky, is, of course, quick to icily brush off Juan Antonio's advances, but Cristina, ever up for adventure and new experiences, is game to go along, so Vicky dutifully accompanies her friend in the hope that she might prevent her, at least, from being murdered by the suave, dashing painter.
It may seem a bit unrealistic to think that a young woman would agree to a weekend trip with a stranger, but Bardem pulls of Juan Antonio's directness and charm with a disconcerting ease that, I'm sure, made many a female heart flutter at tonight's screening. In Oviedo, Vicky resists Juan Antonio's charms for a while, but when Cristina is taken ill with food poisoning, she ends up spending more time with him. Flames of interest and passion flicker, and the two end up sharing a memorable night of passionate lovemaking.
Upon their return to Barcelona, though, Juan Antonio resumes his pursuit of Cristina, deciding to leave Vicky alone, so as not to further complicate her imminent marriage. Cristina moves in with him, and all is going swimmingly until the sudden return of Juan Antonio's beautiful, crazy ex-wife, Maria Elena (Penelope Cruz), following a suicide attempt. What with Maria Elena's passionate and paranoid rantings, things are a bit sticky for a while, but eventually Maria Elena warms up to Cristina, and the trio ends up involved in a rather bizarre three-way relationship in which sex and powerful emotions are entwined. Meanwhile, Doug has come to Barcelona to marry Vicky, who can't stop thinking about Juan Antonio. When Vicky stumbles upon Judy kissing another man, Judy confesses that she hasn't been in love with Mark for years. Vicky confesses to her aunt her feelings for Juan Antonio, and Judy sets out to convince her niece to take a chance and pursue her heart's desire, rather than settling for the mundane.
That's the basic story, but there's so much more in between the lines that I won't reveal, so as not to spoil the joys of discovering them in the film for yourself. Suffice it to say that Allen has created one of his best works in years, a film that is funny, philosophical, and imaginatively explorative of the meaning of love and desire. Cruz turns in a performance that's better, even, than her Oscar-nominated turn in Volver; her Maria Elena is on-the-edge crazy, but is also very funny and engaging.
Johannson is quite good here as well, and Bardem completely makes you forget his psychotic serial killer in No Country for Old Men, believably playing Juan Antonio as a man who pursues passions and ardently seeks the meaning of love. Clarkson, of course, is also solid; I don't think she could turn in a bad performance if she tried, but the real revelation here is Hall, who brings the reluctant Vicky beautifully to life, playing out her fears and inhibitions, and bringing heart to the story.
I have to give Allen due credit here as both writer and director of the film. He's penned a script that could have been merely a surface exploration of male sexual fantasies, but turned it instead into a fascinating study of relationships and boundaries. There is sexual tension in the film, and a couple of fairly passionate, beautifully shot sexual scenes (yes, from Woody Allen), but Allen avoids using provocative nudity to make his point, instead keeping his focus firmly on the idea of desire and passion rather than overt, on-camera sex. There's no nudity in the film; Allen relies instead on the talent of his actors to convey the film's underlying sexuality.
As he has with his previous works shot in New York, Allen makes the city of Barcelona a character in the film rather than merely a location, creating an almost fable-like setting for Vicky and Cristina, where the very air seems to tear through inhibition and conventionality, and opens them to possibilities they'd previously never even imagined. Allen does use voice-over extensively throughout the film (provided by Christopher Evan Welch), which provoked an inner eyeroll when the film first started, but the wryly amused narration merely adds to the fable-like air of the film, rather than being obtrusive or telling us things we should be feeling.
We quickly get the sense that we're being told a story here, a fairy tale about two young girls who meet a charming artist who's not quite a Prince Charming riding in on a white horse to rescue them from peril; Juan Antonio serves, instead, to rescue Vicky and Cristina from their own expectations about what love and life should be. Allen has succeeded in making an excellent film; Vicky Cristina Barcelona is a lovely gift from a filmmaker who, when he's on his game, truly hits the mark.
CAST
CREDITS
A Weinstein Company (in U.S.), Warner Bros. Intl. (international) release of a Mediapro & Gravier production in association with Antena 3 Films & Antena 3 TV, a Dumaine production. (International sales: Wild Bunch, Paris.)
Produced by Letty Aronson, Gareth Wiley, Stephen Tenenbaum.
Friday, May. 16, 2008
By Richard Corliss (Time)
A darkroom kiss between Cruz and Johansson is probably Allen's most direct expression of romantic-sexual connection.
Wendy Ide at Cannes Film Festival
By Emanuel Levy
by Kim Voynar
Juan Antonio - Javier Bardem
Judy Nash - Patricia Clarkson
Maria Elena - Penelope Cruz
Mark Nash - Kevin Dunn
Vicky - Rebecca Hall
Cristina - Scarlett Johansson
Doug - Chris Messina
Executive producers: Jaume Roures.
Co-producer: Helen Robin.
Co-executive producers: Jack Rollins,
Charles H. Joffe, Javier Mendez.
Directed, written by Woody Allen.
Camera: Javier Aguirresarobe.
Editor: Alisa Lepselter.
Production designer: Alain Bainee.
Art director: Inigo Navarro.
Set decorators: Sylvia Steinbrecht, Sol Caramilloni.
Costume designer: Sonia Grande.
Sound: Peter Glossop; supervising
sound editor, Robert Hein;
re-recording mixer, Lee Dichter,
Sound One.
Casting: Juliet Taylor, Patricia DiCerto.
Rating: PG-13
Running time: 95 Minutes
(English, Spanish dialogue)
JAVIER BARDEM- The Unofficial Web Site 2008
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