Madrid — At the start of the first shot of “Belmonte,” the camera pans slowly across dirt-filled cracks between stone blocks in a concrete wall to an extraordinary bronze statue of a family – father, mother, cherubic child – perched on a bull straining head down to pull them along to Javier Belmonte himself, surveying the art work pensively. The shot encapsulates the whole film: the constant contrast and interaction between art and a messier reality, in this case, Belmonte’s personal life, his yearnings for a family. 43, still with a dash of bohemia in his leather bomber jacket, Belmonte, a Montevideo has hit mid-life crisis. He still paints – bouffant, fleshy Botticelli-looking male nudes, awash in bright colors, but bestruck by angst.
As is Belmonte. He yearns for family, fears that his divorced wife’s pregnancy by her second husband will mean he gets to see less of his daughter, the light of his life,...
As is Belmonte. He yearns for family, fears that his divorced wife’s pregnancy by her second husband will mean he gets to see less of his daughter, the light of his life,...
- 10/25/2018
- by John Hopewell
- Variety Film + TV
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