‘Oliverio y la Piscina’ Review

Oli (young Alex Warren’s first performance, and quite a good one) is wise above his years. Well, maybe. It’s hard to tell how old he is. Regardless, his family is already crumbling when his father (Jacobo Lieberman) dies from a sudden brain aneurysm, turning the household into a place of blame and regret. Reeling, Oli decides he’ll take over a chaise lounge by the pool, maybe for the rest of his life, and it seems no one can bring him back to a semblance of a normal life. His by-the-book mother (Mónica Huarte) grieves alone.

To its credit, Oliverio y la Piscina establishes a lush atmosphere. Director Arcadi Palerm’s first feature-length is a great looking film and reminiscent of 2017′s Columbus (especially the choice in architecture and how that reflects in the characters), yet what begins as a moving portrait of sudden grief and the typical blame-games that often follow becomes as murky as an unfiltered pool.

The simplicity of its conflicts is interesting enough: Is Oli demonstrating actual grief, or is it performative? Ultimately, that question is superfluous, and Oliverio offers no surprises. Instead, it traipses down a route so traditional you could set your watch to it. Tone becomes the larger element at that point, though while cohesive and solid in its first half thanks to a relatable and accurate portrayal of grief, forced coming-of-age elements—including young love in the midst of grief—do a lot of heavy lifting in the sagging second and third acts.

So-so computer effects permeate fantasy sequences to the point one wonders why, if a film delves into magical realism, can it not commit? Huarte is an absolute delight as the grieving mother, however, and provides much-needed energy. Even so, her contributions spur a cartoony atmosphere that further complicate what it is, exactly, that we’re supposed to feel.

Dramedy can work and often does, but it helps when a film’s elements blend into the absurdity and tragedy of everyday life, or its more fantastical facets, rather than attempting to split the difference and coming up too short in both arenas. Oliverio y la Piscina lays down a solid foundation and touching moments, though, even if its naturalism fizzles into a series of confusing screenplay choices that feel like the filmmakers were trying to make the type of film that’s expected of them rather than what they really wanted to do. At least you won’t be bored.

6

+ Strong foundation; honest portrayals of grief

- Loses itself as it goes on

Oliver y la Piscina

Directed by Arcadi Palerm-Artis

With Warren, Lieberman and Huarte

Jean Cocteau, Xerb. NR, 103 min.