Synopsis:
Winner of the top award at numerous film festivals, including Rotterdam and Buenos Aires,
The Sky Turns is a sublime contemplation of time, memory, and mortality that evokes Víctor
Erice’s The...
Winner of the top award at numerous film festivals, including Rotterdam and Buenos Aires,
The Sky Turns is a sublime contemplation of time, memory, and mortality that evokes Víctor
Erice’s The Spirit of the Beehive, El Sur and The Dream of Light.
After a 35-year absence, director Mercedes Álvarez returns to her native village Aldealseñor in
remote northwest Spain. She was the last child born there; now only 14 aged inhabitants remain.
Though her film is intensely personal, Álvarez yields the spotlight to the dwindling but tenacious
villagers. The passing years have made them natural philosophers, historians, and comedians -
they muse on the transience of things, regard the folly of conquerors from Caesar to Bush, and
lace it all with ironic, quintessentially Spanish humor.
For the moment, life goes on. Very soon however, without any outward commotion and without
anyone to bear witness, it will all come to an end. The final 14 represent the last generation of a
people that have carried on more than 1000 years of uninterrupted village life. Soon they will join
the other ghosts that haunt these ancient hills - ghosts of dinosaurs, Romans, Moors, and
Fascists.
Álvarez’s proxy within the film is her friend, the painter Pello Azketa. The 14 neighbors from this
village and Azketa share something in common: things have begun to disappear before their
eyes. Azketa’s encroaching blindness mirrors the film’s theme of dimming memory and his
nebulous landscapes offer a key to the region’s austere beauty, its stony heights dotted with
lonely, wind-stunted trees that squat beneath a towering sky. From a small patch of ground,
Álvarez opens up a vast domain, dissolving the personal into the universal, the fleeting into the
timeless, and isolation into a connectedness that reaches high into the heavens and deep into the
past.--© New Yorker Films
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