CineM Review: Diecisiete (Seventeen) 2019

 As the number of characters go, the film ‘Diecisiete’ or ‘Seventeen’ in English is sparsely populated but it manages to showcase an amazing depth of the human condition through the lean cast. What the film seems to depict lies so apparently on the surface but once you invest time in the tale, you get to see innumerable little twerks in the details. The ‘road trip’ genre of films is characterized by the fact that it brings together a disparate set of characters who while seemingly tugged by different motivations, are nevertheless welded together by some common element. Another feature of this genre is that somewhere along the way, the story transcends into something more elevated than the destination – it becomes a parable about the journey itself. In all these, this small Spanish gem, Diecisiete, stays true to the beaten path but where it diverges, and diverges so eloquently, is the sincere way in which the characters are etched out and the honesty which lies behind their actions.

There is not much of a back story; we are presented with the basic details. There are 2 brothers - the younger Hector, is smart, focused and given to petty delinquencies; the construct of his mind is portrayed as controlled yet fragile and his single-mindedness but utter guilelessness, seems to hint at autism but is never made explicit. The older brother, Esma, is nervous and acts in measured tones which suggest at a weariness and a resignation towards readily accepting the hand dealt out. They are attached to their grandmother who is now old and is housed in a care home.

As the film opens, Hector is up to another petty crime but he is caught and interred in a juvenile home where his peculiarities are in stark contrast with the other inmates. A paperback of the country’s penal codes as a constant companion and his introverted demeanor does not win him many friends there, and his multiple unsuccessful attempts at breakouts are something of an establishment joke. Yet, when he is introduced to a rescued dog as part of his rehabilitation program, Hector undergoes a change. He readily accepts and quickly relishes the job of training the mutt whom he plainly names ‘Oveja’ (or ‘sheep’ in English) on account of his raggedy, wool-like coat. Hector who has trouble relating to people nevertheless finds it quite easy to communicate with and assume charge of Oveja and the dog too, reciprocates the affection. His fragile world shatters when he is informed that his efforts in training and socializing with Oveja have yielded fruit in securing him a forever home. Unable to reconcile himself to this forced separation, Hector makes yet another and now successful, breakout and the real story unfolds from this point.

The tale finds the 2 principal characters together by their grandmother’s bedside where the brothers clash over going back to the juvenile home; Hector proclaiming that he will initiate search for his beloved Oveja while Esma argues about returning in time by Hector’s 18^th birthday which is just 2 days away (once he turns an adult, any crimes committed subsequently would be judged in a far harsher light). Grudgingly, Esma agrees to Hector’s idea if it results in him getting back Oveja and returning to the home to serve the rest of his sentence which is only a couple of months from being over. With their grandmother in tow and in Esma’s RV, the brothers embark on their journey to retrieve Oveja from his new owner and restore their lives to the earlier equilibrium, or so they think.

Their search leads them through the canine rescue shelter where Hector ‘adopts’ a 3-legged dog, bucolic villages, long-lost relatives, an ancestral cemetery, et al. where the director and co-writer Daniel Sanchez Arevalo slowly explores the myriad nuances in the brothers’ characters. There is quiet, unobtrusive humor which emerges out of the milieu of hidden intentions and thoughts of the brothers. The grandmother perpetually attached to her life-support paraphernalia acts as a silent foil to the brothers’ shenanigans and despite her character’s senility and approaching death restricting her dialogues to the Spanish phrase ‘tarapara’ or ‘we will see’ in English, provides one of the true motivations of what lies at the heart of the brothers’ actions.

The story takes them through the mountainous and coastal region of Cantabria and the beautiful photography seems to elevate the geography into a side character almost. I feel the film is replete with images as metaphors – the juvenile home which abounds in bullies, Esma’s RV which is his flimsy excuse of a home, grandmother’s burial plot which is both lost and within grasp at the same time – and the wonderfully rugged and at times, peaceful Cantabria countryside serve to propel this unlikely tale forward. The RV passes along road bordering deep ravines which seemingly evoke the yawning differences in the brothers’ personalities and later, the pristine coast fringed by cliffs symbolize the emerging calmness in their loves. In a way, the towering cliffs are emblematic of the leap of faith which both characters are required to take in order to embrace their true destinies.

This is a wonderfully evocative film which ultimately surmounts the limitations of what we see as characters to portray a thoroughly enjoyable tale of human nature, change and ultimately, hope.

I like to think of the three-legged dog who becomes an unlikely companion on the road trip as you and I. Tired and beleaguered, we all think we have lost an important appendage of ourselves on the journey of life and are happy to clutch at any chance at a ‘safe’ existence only to discover that there is apparently, a whole world of possibilities that we can strive for and accomplish. And that thought urges me forward.