THE STORY – An aging Spanish woman in Tangier resists her daughter’s decision to sell her home. Determined to stay, she does everything she can to keep her home and reclaim the belongings of a lifetime. Along the way, she rediscovers love and desire.
THE CAST – Carmen Maura, Marta Etura, Ahmed Boulane & María Alfonsa Rosso
THE TEAM – Maryam Touzani (Director/Writer) & Nabil Ayouch (Writer)
THE RUNNING TIME – 116 Minutes
There’s a certain kind of rebellion that sinks in at a particular age. Most of the time, we think of it in terms of a younger perspective, a coming-of-age showcase in which those on the cusp of adulthood are grappling with newfound responsibilities and a tumultuous change in their physiology. However, a similar sort of rebellion can occur much later in life, and for similar reasons. The body changes, perspectives shift, and a new reality sets in, forcing us to reckon with a different set of circumstances within our lives. It seems that stories about the older population experiencing profound transformations aren’t given the same weight as their youthful counterparts, but that doesn’t mean these viewpoints aren’t worthy of the same in-depth exploration. It is terrain that “Calle Malaga” looks to traverse, exposing a rich tapestry that exists within the complicated life of a woman with many years of experience. As such, it is a captivating analysis that is anchored by an endearing central performance.
Taking place in Tangiers, Maria Angeles (Carmen Maura) is living a thoroughly contented life in her small village. Her life isn’t very ambitious, but she is quite fulfilled with her daily routines. That is, until her daughter Carla (Marta Etura) waltzes back into her life after years of inconsistent communication. Her arrival does not bring great tidings. Due to her own financial hardship, Carla has decided to view the apartment that Maria is currently living in, which is legal for her to do since the lease was left in her name after Maria’s husband passed away. Crushed and angered by this news, Maria initially agrees to move into an assisted living facility. But when these accommodations prove too restrictive to the freedoms she previously had, she talks her way out of leaving and returns to her vacant apartment. Spending the little bit of her savings left to buy back as much furniture as she can, she makes a claim in this space until it is finally sold. During this process, she rediscovers her love of this community and even forges some other strong bonds that reinforce her passion for living.
Maura has always been an actress with an incredible screen presence, consistently demonstrated through her numerous collaborations with Pedro Almodóvar. It’s no exception here, as she gives an incredibly captivating performance. There’s a world of emotion captured just within her solemn expressions, an untapped rage that boils beneath the surface, that is an all-consuming contempt for being forced into this situation. In the senior housing facility, her attempts to adapt are met with abrupt resistance and feisty retorts, especially when one of the aides tries to convince her to receive a haircut, which she dismisses with a vulgar comment about a “different” kind of hair that can be cut instead. When she returns to town, you see the rejuvenated energy flow within. The stare that looked so cold and barren is now beaming with joy and enthusiasm. In every instance, Maura proves herself to be an engaging performer, able to capture the beauty, humor, and tragedy of her circumstances, revealing a wealth of personality to display. There is an entire landscape that exists within her soul, and she tenderly exposes these aspects to help create a fascinating role.
This character aligns quite well with Maryam Touzani’s previous work, as her last film, “The Blue Caftan,” was similarly preoccupied with intimate examinations of realistic individuals confronted with significant dilemmas that made them more aware of what they truly desired. As mentioned, it is wonderful to see such care taken with this portrait of a woman who, most of the time, society would discard to the sidelines with little concern. In fact, the story reveals that this is the fate initially imposed upon her. But the resolve she takes to reclaim that independence is an engrossing endeavor that is enticing to see unfold. One of the most exceptional facets of the narrative is a budding romance that develops between Maria and a local antiques dealer (Ahmed Boulane). While the initial meeting is a little too romantic with an “enemies to lovers” angle, the pair soon develops a sweet connection. More importantly, there is a celebration of the sexuality these older folks indulge in. The scenes are not presented as fodder for cheap laughs. They are sincere depictions of lustful desires being acted upon, an even rarer sight in modern cinema. It’s the most absorbing element of storytelling and is very much appreciated.
It’s not to say that every part of Touzani’s narrative is infallible. For as much nuance and complexity as Maria is afforded, that does not extend to the rest of the ensemble. Carla is a one-dimensional character with simple motivations. Even though she is acting within her own reasonable stance, there’s not much to build from that foundation, and Etura’s performance doesn’t particularly modulate all that much from this point either. Boulane does share an alluring chemistry with Maura, but the initial construction of this relationship is at a manufactured point of conflict that comes across as forced. Even within this romance, some of the actions that comment on this strong bond become repetitive towards the finale. Just as the musical can occasionally tip its hand at telegraphing what emotions should be felt during the scene, the storytelling also has some indulgences in more conventional storytelling that is not as effective. Still, some of the script’s most impactful moments are a series of conversations between Maria and a silent nun, often on the receiving end of lewd gossip, who must listen to outrageous stories in a house of God. It’s a highly amusing setup that leads to hilarious sequences.
There is a structure to “Calle Malaga” that can feel similar to other types of films that came before. Even though it aims to deconstruct a perspective that doesn’t get featured as much as it should, some convention is still evident, which signals less interesting paths. The world created around Maria is far less enthralling, and those characters lack depth, making them unworthy of investment. Still, despite these other shallow roles and familiar tropes, the intention behind this narrative remains strong. The character study being forged remains passionately vibrant, and Maura’s performance serves as the guiding light that makes this effort worthwhile. She is undoubtedly the film’s greatest asset, and it’s worth seeking out just to watch her brilliant work.
