The Beloved

Far from defending the behavior of this abusive artist, Sorogoyen exposes him as trapped between his memories and his imagination.

Reminiscent of Joachim Trier’s Sentimental Value, this film promises less and then gives more than one would have expected—yet another vivisection of family animosities and the importance of art in their lives.

Rodrigo Sorogoyen’s superbly acted and dramatically compelling study of generational rifts, gender divides and the deep, unhealing scars in a father-daughter relationship has a muscular, propulsive momentum.

Through Esteban and Emilia’s troubled shoot, we get a glimpse of what must be sacrificed – ego, pride, creative control – to achieve reconciliation. Given what we’re talking about, it’s a wonder that films manage to get made at all. In that vein, perhaps The Beloved, like its fictional and real-life forebears, confirms that moviemaking truly is a miracle.

Despite the potential grueling running time for such a specific and intimate narrative thrust, Sorogoyen presents something nothing short of fascinating in how creation allows for its own powerful form of catharsis.

Sorogoyen’s film meanders, and some of his visual flourishes are more puzzling than profound. Still, the two lead performances and one superb scene later in the film elevate the entire affair.

Esteban is a black hole that sucks out all the air from the space around anyone in his midst; Bardem’s perpetually alpha aura makes for a great match to the material. His performance is terrific and internalized as ever, bringing vulnerability and edge to a stereotype.