The always sarcastic marquee at my local arthouse showing the new Spanish film Summer, 1993 had a special comment on one side which reads “Not about ‘Exile in Guyville’” in reference to the 1993 Liz Phair album of that name and on the other side it reads “I was listening to ‘Siamese Dream’ a lot that that summer” in reference to the Smashing Punpkins album of that name. That joke marquee isn’t really referencing anything in the movie itself (which is entirely disinterested in popular music) but more about that strange way that references to the summers of various years almost always conjures up certain nostalgic images whether or not your own experiences had much of anything in common with the popular perception. Case in point Bryan Adams managed to sing very plausibly about his magical coming of age experiences in the “Summer of ‘69” despite the fact that simple google searches reveal that he was actually only ten years old that year so he probably didn’t actually buy his first real six-string at the five and dime and play it until his fingers bled that year. The year 1993 is of course no exception, when I saw the title of the movie I was also instantly thinking about grunge music and Michael Jordan even though I was six years old that years old that year and was probably spending a lot more time listening to the “Little Mermaid” soundtrack than I was listening to “Vs.” Of course that would theoretically prove to be a bit of a boon when it comes to looking at Summer, 1993 the movie as it eschews the notion that the “summer of” construct is owned by teenagers as it is also a movie about people who were six or so in 1993.
Summer, 1993 begins with a woman named Marga (Bruna Cusí) and her husband Esteve (David Verdaguer) adopting their niece Frida (Laia Artigas) and moving her from Barcelona to their home somewhere in rural Catalonia after Frida’s mother dies and hope to raise her alongside their own slightly younger daughter Anna (Paula Robles). That is pretty much the entirety of the plot summery for this movie as it is very much a movie about observing people rather than really relaying a plotline. There is a subtext to be discovered in that it becomes clear that it was three letters that took Frida’s mother to her final resting place, which is probably the main reason this is set in 1993, but this only really comes up in something like four or five scenes and the movie doesn’t really come out and explain it explicitly until a very well rendered conversation in its final moments. Instead the movie remains largely in the little girl’s point of view and continues to follow her through her many mundane days across that summer mostly oblivious to the social and political situation that her mother’s death represents instead observes her as she’s going through typical kid stuff as she slowly adjusts to her new life.
Summer 1993 is a tricky one because I get what it’s trying to do and when I step back far enough I can admire that, but the process of actually watching it was a bit rough. I hate to use the B-word about an art movie but if I’m being honest there was only so much of watching these kids do a whole lot of nothing particularly special without finding it all a bit dull. This has been something of a quirk in my taste, a lot of filmmakers seem very interested in letting their cameras observe kids being kids but it’s something that doesn’t really work for me except for a couple of very specific situations where it works very well. Last year’s The Florida Project for instance, worked like gangbusters for me but that looked at a childhood that was very unique and really examined how that kid’s messy family life affected her in a way that this movie intentionally avoids and other movies like Richard Linklater’s Boyhood tends to move more quickly from year to year rather than focusing in on one rather mundane summer. This one actually reminded me more of Terrence Malick’s The Tree of Life, but not the interesting parts of it like the dawn of life sequence or the magnificent camera work or ethereal nature that made it interesting, more like an extended version of the somewhat dull sequences of kids playing that sort of made that movie not entirely work for me. And if watching kids play aimlessly is going to make a Terrence Malick movie dull you can probably guess this one didn’t really stand a chance. Still, I don’t want to be too dismissive of it as it does in theory at least do a pretty good job of showing with subtlety a major adjustment in this family’s life, shame it also had to be so boring.
** out of Five