Cannes Review: In The Beloved, Javier Bardem and Victoria Luengo Generate Chemistry While Facing the Past

      There exists a certain group of talented film directors, such as Guido Anselmi and Ferrand, whose names may not be well-known. However, you are familiar with 8½ and Day for Night––the films in which they feature. Esteban Martínez (Javier Bardem at his most intense since Iñárritu’s Biutiful), the main character in Rodrigo Sorogoyen’s latest film, The Beloved, certainly fits into the category of great non-existent filmmakers. Reminiscent of Joachim Trier’s Sentimental Value, this movie sets modest expectations but delivers much more than anticipated—providing yet another study of family conflicts and the significance of art in their lives.

      Sorogoyen captures our attention immediately, starting his film with an impressive 20-minute sequence focused solely on the dialogue between the two principal characters. As Esteban reunites with his estranged daughter, Emilia (Victoria Luengo), the atmosphere is filled with discomfort and uncertainty. Like Skarsgård’s Gustav Borg, Esteban was destined for greatness, but it has cost him dearly, particularly the love of his daughter. It is evident that the tension between them is established quickly—they have yet to lower their guards. Through a simple shot-reverse technique, Sorogoyen heightens the discomfort lurking behind their forced smiles. With each cut, the camera draws closer to them, making the close-ups feel even more intimate, as if Sorogoyen aims to penetrate their souls.

      “How are you?” “Bien.” And you? “Bien.” How's life? “Bien.” “Bien,” “bien,” “bien”––this single Spanish word oscillates quickly, like knives being thrown at a circus opening night. Its repeated use communicates volumes about their relationship, and then some. Until now, their small talk seems superficial, highlighting how distant they have grown over the years. Even when Esteban inquires about her mother, (who was previously an actress) whom he left after they completed their first film, she responds with yet another “bien.”

      Despite belonging to different worlds, Bardem and Luengo create an unmatched chemistry on screen. Each gesture reflects their estrangement; each “bien” acknowledges their inner sorrow; with every trivial comment, tension becomes more evident. They both recognize it, and after a few moments, Esteban gets straight to the point. “What do you know about the conflict in the Western Sahara?” he asks, a question you wouldn’t typically expect from a father at a reunion.

      Both Esteban, the director, and Esteban, the father, wish for her to take on the lead role in his new historical film. For Emilia, it's a rather strange request. She is an actress who has abandoned her Hollywood aspirations and now works as a waitress. Her life is stressful, too; she removes her sweater and orders a glass of red after finishing her first beer. “I’m gonna be tough,” Esteban claims. As you might guess, this won’t be the last time we see Bardem’s darker side in The Beloved. Yet, Emilia responds with a gentle smile as she feels a spark of excitement.

      This entire exchange reveals everything about the two of them. One seeks reconciliation, while the other is ready to confront the world, nursing a wounded ego. They remember past moments differently, like when they attended the second Kill Bill. Esteban remembers it as a warm experience, while his daughter disputes his recollection (“You turned up drunk and high”). Memories are unreliable; they are filled with painful fractures. This is why old scars are reopened, bringing them close to conflict, but Emilia ultimately accepts her father's offer. Her curiosity, filled with longing for her father, proves stronger than hatred. It takes them sixteen minutes to spark their first argument. The encounter ends in a stalemate, but the next round is just around the corner—this time on the set of Esteban’s film.

      Sorogoyen shows a keen interest in observing his characters from the sidelines. Once filming begins, we view Esteban and Emilia through the lens of the film set, its crew, and equipment, which occasionally alters the aesthetic of The Beloved, including black-and-white shots. Each viewpoint provides a fresh perspective, enabling audiences to see the same individuals in new shades. In this regard, Sorogoyen is more focused on portraying the filmmaking process and the human elements involved rather than the end product. True, the pressure escalates, and Esteban is hardly a compassionate figure, yet he seeks redemption for his past mistakes. Emilia, regardless of circumstances, remains her father’s daughter. She continues to give, and give, and give. An opportunity like this may never arise for either of them again.

      The director of the acclaimed The Beasts is not primarily interested in the Sahara project but rather in the dynamics between the father and daughter within it. Take, for example, an extraordinary scene depicting an in-film dinner. Shot from