A great and unforgettable movie, this Netflix movie will touch your soul and open your eyes

Perhaps the scariest thing about Uday is its ending. Soon after the final sequence, information is shown on the screen that, in 2018 alone, seventy million people were forced to leave their homes “in search of a better world”, half of them children. The idea of ​​a better world is undoubtedly a dangerously subjective one – a better world for some is an inescapable hell for many – but the intent of Spanish director Salvador Calvo, was reached in terms of highlighting the increasingly perverse influence that the anti-immigration policies of European nations exert on Citizens of African countries, especially the most vulnerable. Unable to overcome misery, which is largely born of corruption and lack of skill in dealing with public affairs, these countries fight one evil by causing another evil, the solution of which is infinitely more complex. The escalation of restriction of rights, persecution and violence against people who abandon their homeland and try to integrate into another world, even those who do so with the full support of the law, is a phenomenon of increasingly frightening proportions, which has been established as a practice at a time when unwillingness to deal with people’s hardships has become who have nothing to offer political capital. Immigrants, illegal or otherwise, labor to do the dreary and toil that white college students can bear to revise it. calendar.

Released in 2020, Calvo’s Narrative makes way for a true story by recounting the struggles of a six-year-old Cameroonian boy to be integrated, first into the bosom of his family. The marginal life that awaits him with his sister Alicia is but a reflection of a family tragedy rooted in abject poverty, lack of prospects, and contempt for public authority. The performances by Mustafa Umaru and Zaidia Deso—appearing only when the film is in full swing, but providing equally illuminating moments—make a great deal of “Adú”, who soon reveals his intention, to draw attention, with a three-center plot, in order to An open wound bleeding across Europe, explored by the press, but ineffective in arousing feelings, sympathy, and most importantly, the desire to take people from that particular continent to an infinite number of people.

Parallel to the anguish that takes this child’s life, the presence of an environmental activist in orbit begins in Addy whose dedication to saving elephants from extermination fits squarely with the neglect of his daughter and a group of somewhat cynical police officers monitoring traffic and pedestrians in the vicinity of the Melilla border fence Spanish with Morocco. Gonzalo, a bitter father who finds some solace in the wilderness, played by the wonderful Luis Tosar, once again faces the specter of a renegade fatherhood when Anna Castillo’s daughter Sandra decides to search for him and begins living with him for a while. Little by little, insofar as one disagrees with the directions which Gonzalo decided for his life, the apathy of his situation is understood. Sandra, a former drug addict who is facing relapses, refuses to receive help, and their cohabitation soon proves torment for him and Castillo’s character. Shortly before, his father was the target of hostilities by the people of the area he supervises in Cameroon, a country in West Central Africa where Adu and Alika also live. What he condemns is Gonzalo’s efforts to combat the killing of dermis snakes in sanctuaries that are legally set up specifically to preserve them, a moment in which Alejandro Hernández’s screenplay brought Calvo’s film to its climax. The metaphors of cacotopia, which he has carried out against a hero who takes for himself a noble purpose and begins to refute it for this very reason, are well detailed by the director, who rightly placed in the character of Tossar his hope to give some relevant to the long, undoubtedly well-intentioned, but at every moment on About to get lost in the face of many matters, all of which are important. An example of this is the essence of the border guards, whose fanaticism quickly turns into aggression and a license to kill that no one granted them. Led by Matteo, played by Alvaro Cervantes, they become involved in a crime related to Luma, Anna Wagner’s character, and undergo a trial that everyone knows how it will end, thus being free to perpetuate their criminal schemes. This third foundation of the narrative-preserving tripod, which is by far the weakest, can help make the dystopian atmosphere of the central plot stronger, but it’s executed in a very clumsy way, and doesn’t clarify more than confuse it.

Another successful realization of Calvo was choosing to focus his film on the friendship of Adú and Massar. A creature cut off from his world, like Omaru’s character, Path grows further than expected thanks to Adam Nuru’s dramatic cunning, especially after Alica leaves the scene so abruptly and tragically. The saga we witness from this point to the end of the story with the two boys leading a real fight for survival that makes up for any misstep by Salvador Calvo, who has erred with excess and never a scarcity. The audience reaches the end of “Adú” confident that they should regret having made a movie like this, the more the argument grows that this is the routine of millions of people and that their drama is taking shape in front of the audience..increasingly confused human eyes care less and less about them .


Movie: Adu
direction: Salvador Calvo
year: 2020
sex: drama
Noticeable: 9/10

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