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Critics Consensus: Summer 1993 (Estiu 1993) finds writer-director Carla Simón drawing on personal memories to create a thoughtful drama elevated by outstanding work from its young leads.
Critic Consensus: Summer 1993 (Estiu 1993) finds writer-director Carla Simón drawing on personal memories to create a thoughtful drama elevated by outstanding work from its young leads.
All Critics (79) | Top Critics (13) | Fresh (79) | Rotten (0)
Refreshingly, Simón's take on the "summer that changed everything" movie is delicate and unsentimental, earning an emotional response simply by exploring how a child interprets loss from the child's perspective and at the child's pace.
Not since Boyhood has a film shown this much respect and understanding for what it's like to be a child.
It's a film entirely lacking in pomp, but there's a certain bravado in its delicate reservation. A tender and spare meditation on family unfurls in the stillness of a sleepy, sun-soaked Spanish summer.
In this semi-autobiographical period piece, Simón achieves the rare feat of faithfully recreating the mysterious consciousness of a child.
Some creatures are able to grow new limbs. Frida, given more than half a chance after demanding it, achieves something no less remarkable. She grows new joy and hope.
The result is a kind of grief procedural, its focus sharpened by the lush greens of the Catalan landscape.
Here, we get a nuanced and heartbreaking picture of a child displaced to her Aunt and Uncle. However, the film needs to have more insights to sustain itself.
Summer 1993 is a quiet, tender character study focused on its young protagonist, her youthful existence in a state of flux following the death of her mother.
Simón's loving replication of the past is anchored in a bevy of lush greens and warm tans, with the sounds of domestic and outdoor life coming through with a keen vitality.
In one form or another, we can all relate to some childhood experience shared by the film's two young protagonists. An ingenious portrait of family, heartbreak, and belonging.
The four actors did extended improvisations as a family before the film shoot began and the chemistry they developed shows; they have a convincing intimacy together.
[Summer 1993] avoids simplification and develops its complexity from the internal labyrinth that Frida lives in. [Full review in Spanish]
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