The Seventh Day, 2004

On an isolated pueblo in the heart of the Spanish countryside, the seemingly familiar story of fickle young love unravels to incomprehensible tragedy when the spurned lover, Luciana Fuentes, expresses a vengeful wish on her seducer in the presence of her fragmented, devoted brother Jerónimo who, in turn, executes his sister’s wish, resulting in the young man’s cold and brutal murder in an open field. Despite Jerónimo’s capture and 30-year prison sentence, the shame on the Fuentes family still proves to be terrible burden as the townspeople continue to treat the siblings with open contempt and derision, culminating one day in a suspicious fire that engulfs the family home and escalates the deeply entrenched family feud. Publicly humiliated, forcibly driven out of town, and struggling with Luciana’s delusional obsession over her broken engagement, the family’s harbored animosity festers with each passing year, awaiting Jerónimo’s release and pondering the inevitable day of reckoning against the community that had turned its back against them. From Isabel’s retrospective opening monologue to the intimately captured innocence of the children’s world, Carlos Saura evokes the provocative and trenchant social observation and disquieting mystery of his seminal film, Cría Cuervos while retaining the musicality and immersive passion of his later, cultural expositions to create a haunting and indelible work. Through the introduction of the slow-witted, drug-addicted witness – the child of an incestuous relationship – Saura illustrates an intrinsic parallel to the town’s oppressive isolation and complicity that contributed to the perpetuation of the communal tragedy. Based on a true incident in 1992, the film is a thoughtful, potent, and incisive examination on the insidious nature of collective exclusion, intolerance, implicit collusion, systematic demoralization, and consuming vengeance.

© Acquarello 2004. All rights reserved.

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