When a mother buries her child, a part of her also dies. A principle that the ancient Chinese culture turned into a proverb: father and son are two, mother and son only one. And there is no woman punished with such a terrible loss that she can avoid the deep and permanent pain that she will carry for life.
In the chronicles it has been written that Ana Obregón wanted to compensate for an intimate defeat with a victory from others. The death of the biological son due to the birth of the surrogate granddaughter. Fulfilling a posthumous wish, he has lengthened the controversy because today’s good exclusives are dosed like yesterday’s serials.
This has been how those who reviled the chronicles of the heart have also joined the popular chorus of an illegal process in Spain but possible in other countries. Debatable procedures of those who have expressed the opinion of the Government and Congress to whom revisions of norms are requested because there is nothing left that cannot invade everything. In the middle, the two Spains always ready to argue from opposing positions. Some forceful, others nuanced. The information confused with the speculation, the news with the rumor and the protagonist in the center molding her truth between pain, exhibitionism, recovery and joy. In the debate, the impossible mix. From the law and its weakness to the power of money and its perversion. From science and its recommendation to the social limits of both the contracting parties and the contracted parties. From the advanced age of the grandmother-mother to the uncertain future of a girl exposed to a public and published guardianship before life pushes her into potential loneliness. Biology and perversion, egoism and altruism, generosity and exploitation, business and solidarity they alternate with the same force of the opinions found and the sharpened controversy. But all forgetting the main thing: children are not the property of their parents. The children are borrowed.
The phrase, forceful and conclusive, appears as who does not want to in the film ‘The good companies’. Your director, Silvia Munt Quevedo (Barcelona, March 24, 1957), he affirms that his mother’s caretaker told him. A Dominican, named Esperanza, away from her country for work and separated from her children because of her need. And she could not avoid including it in her script so that, without emphasis but with feeling, a resigned mother would say it to her nonconformist daughter when she raises the doubts that fork her way. Those of any young person but corrected, increased in the Bilbao of 1976.
Silvia Munt has been based on ‘Basauri’s eleven’ to show the constancy of feminism in defense of women’s rights. Those they faced a criminal process that lasted nine years accused of having an abortion. But the film that reflects the beginnings of the movement and the airs of change that were in the air goes far beyond the facts. And it crosses experiences and sensations, realities and desires, possibilities and frustrations of two generations that live together but do not coincide, that suffer but do not speak, that know but do not say.
‘Misty’ floats in the air. As in the jazz classic recalled by Elena Tarrats, the protagonists wonder if they are not hopelessly lost. That is why they are needed. And from that need, the force that drove us here.