La Spagnola reflects upon lives of Lola and Lucia - mother and daughter - both , in a way, suffer because of loving (in their own way) - Ricardo - husband of Lola and Father of Lucia. Lola loved him so much - but never showed and was always fighting with him for better life while Lucia loved him without any expectations and too suffers from him , when one day he decides to leave both of them for an Australian cool headed blond. All hell loose for mother and daughter duo - as they were financially dependent on Ricardo.
Director , Steve Jacobs, has not led his prejudices come in putting the characters out for viewers - and as a viewer you are left to form any impression about the characters.
- Ricardo has been shown to be a superfluous guy who is only interested in flesh and nothing else.
- Lola - though loves her husband but throughout the movie she comes across as a cacophonous and belligerent - fighting with her husband.
- Lucia - 13 year old girl - ugly duckling - who has to survive death of her animals - pigeons and goat - and yet be with her mother is the biggest pain in her life.
Like most of the Spanish movies - there are beautiful colors in the movie...and the movie leaves lot of lose threads for the viewer to imagine his or her own answers - this is the reason why a viewer starts bonding to any movie and this is what happens with this one as well...
The irony in the movie is Lucia serves as communicator between Australian doctor and other immigrant patients and yet there is such a huge gap of communication between her mother and herself.
The rumbustious humour, gleefully mixing sex, scatology, and food, resembles Fellini at his most burlesque, while the hints of the surreal and the supernatural recall South American magic realism. Marceli's operatic performance as the self-dramatising Lola suits these moods perfectly, but it is Ansara's quieter, more restrained performance that provides the film's truest moments ...courtesy - BBC Films Review