Solemplex To me, this movie is perfection.

FuzzyTagz If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

Patience Watson One of those movie experiences that is so good it makes you realize you've been grading everything else on a curve.

Francene Odetta It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

caroline69-1 There are several things about this film so clunky and amateurish that they make me cringe. But it kept me glued to the screen anyway. The plot's not the problem: its disjointed nature seemed quite lifelike and realistic. It was very dark, and it surprises me that other commentators can call it comedic and enchanting. It certainly had comedic moments and enchanting moments but I found it pretty wrenching watching a 14-year-old begging her father not to abandon her to her mother, not to mention watching said mother have sex just to try to get money for the rent. But I was moved by those scenes. I was also intrigued by the scenario of the beautiful sister who doesn't have any fun in bed and her plain sister who knows how to enjoy herself. That's not what usually happens in the movies. What bothered me was the following: 1. All the anglo-Australian parts were caricatures of evil (except for one neutral, non-evil shop assistant). Yes, I know that's how Arabs, Germans and South Africans are portrayed in Hollywood films, but I expected more subtlety from this film. 3. Lucia spoke Spanish with a strong Australian accent, and I'm pretty sure you don't do that when your parents are native Spanish speakers. Well, you would if they never spoke Spanish to you, but Lola speaks almost exclusively in Spanish. I don't know quite how I expected the actress (Alice?) to overcome the problem, but it was a problem. 2. Lola looks like a 24-year-old movie star in every single shot, even when her daughter comes back to visit her. While I loved watching her for her sheer gorgeousness, it was hard, despite her acting talent, to believe in her as the mother of a 14-year-old, suffering poverty and stress. All that artfully shot dust never seemed to touch her or her beautiful clothes. Maybe her unchanging beauty was meant to be some sort of statement about how her daughter saw her, but I suspect it was really down to overzealous stylists or the director having a crush on her. Well, it wasn't perfect. I don't even know if I'd say it was good. But it was different, and that's something you don't see very often.

jinxmap While the DB reviewers all seem to be unsure of what to make of this film, it does indeed have a growing tradition in style with other Australian quirky movies such as Strictly Ballroom, Priscilla, and the Baz Luhrmann Red Curtain series. The staging, cinematography, execution and editing of shots are quick, colourful and energetically paced.This allows the bizarre story to unfold, and the characters to develop, with explanations for their motivations being revealed gradually. The genius lies in Anna Maria Monticelli's beautiful script which intelligently begins to unravel events that have already occurred without explanation, all in a comfortable linear format. Such imaginative exposition is rarely given without confusing flashbacks, and is the heart of this film. I found the structure elegantly clarified all of the initially obscure scenes.The mother Lola never becomes sympathetic, however Lola Marceli's sterling debut convinces the viewer of a person becoming truly disturbed by her transplanted identity as Spanish woman amongst Italians, in an uncaring Australian society, deserted by her husband and scorned by her neglected daughter. Alice Ansara's Lucia cool-as-a-cucumber performance is understated and believable, and all the more commendable for her excellent language skills which define her character, and serve as some of the funniest bits of business as she gently toys with her clients' own lack of linguistics.And of course Alex Dimitriades yet again demonstrates his smouldering leading man persona which we first saw in 1998's masterful "Head On".Lourdes Bartolomé's turn as catty sister Manola chews the lush scenery and deftly steals the show, particularly in the dancing and cooking sequence! I might point out that she is most entranced by a courgette (zucchini), rather than a cucumber, as one reviewer has written...

jotix100 This delightful Australian film came out of nowhere, as I doubt it was ever was shown commercially in this country, except maybe in some markets, but never in the N.Y. area, as far as I'm concerned. It is a film that holds one's attention because of what Steve Jacobs, its director, working on a screen play by Anna Maria Monticelli, has achieved. He deserves better than the obscurity this film seems to have gained. Had it not been for HBO Latino, we would have missed this funny Australian movie.Perhaps most viewers get confused with this movie trying to be a lot of different styles, not settling into being just a comedy, or a black one, at that. There are lots of situations in the film that immigrants all over the world could easily identify with. There is a 'melange' of languages enough to confuse the most brilliant linguists, but in a funny kind of way. It's easy to follow what one sees on the screen.The two principal actresses, Lola Marceli, and Alice Ansara, make this film enjoyable. Both women bring a fire to whatever they do in line with what one's expectations. Lola Marceli is a gorgeous creature who smolders the screen with the heat she projects. Ms. Ansara, as the long suffering daughter, is quite good herself. The best thing in the film is Aunt Manola's version of the ritual of preparing the cucumber salad. Lourdes Bartolome is nothing less than genial as her facial expressions are seen in close ups. Not only that, but Aunt Manola adheres to the most hygienic ways of preparing food!Watch this movie with an open mind and it will reward the viewer.

nikkiwhitelady "La Spagnola" (literally "The Spanish Woman", in Italian) is a searingly sexy black comedy from "down-under" that explores the dysfunctional relationship between the fiery and beautiful Spaniard, Lola (Lola Marceli in a star-making performance) and her sensitive and lonely daughter, Lucia (the beguiling newcomer Alice Ansara). There is not a false note in the entire film. Under Steve Jacobs' assured direction, the faultless performances, stunning cinematography, playful musical score and songs, work their surprising and indelible magic upon us.Anna-Maria Monticelli's achingly funny yet deceptively simple narrative rings with harsh truths about the migrant experience in 60s Australia, and propels this sublime human drama towards a touching conclusion. "La Spagnola" is firecracker of a film and a sure-fire bet for the next "Best Foreign Film" Oscar.