Intruder

Luisa, Angel and Ramiro are insepal-able during their adolescence. Luisa marries Angel, but soon discovers that Ramiro is the one she really loves. Angel is understanding and leaves the young couple to their happiness. One day, 15 years later Luisa runs into Angel in a park. She is chocked by his decline in appearance and offers him to come home with her. But the once understanding friend has changed, and with him evil enters the couple's harmonic existence.

COMMENTARY
The Intruder outwardly resembles a classical eternal triangle drama, a thriller of everyday life. An action movie without the routine ingredients. A skilfully plotted soap opera filled with large and beautiful Latin bubbles. The flesh is Victoria Abril, the blood Imanol Arias and Antonio Valero is the one in between.
The Intruder is a Spanish morality play which cannot literally be interpreted as stating ''this is what happens when you marry twice''. If anything it states the banal truth of the philosopher: ''We walk alone on earth. We cannot own each other, each other's history, or even each other's future. And we will never fully get to know each other.''
Man has always equaled love and ownership over the years. And maybe that is the best way. But we also know this to be totally impossible. There always has to be a struggle for love. Not least since something or someone cuts like a wedge into the ''right of ownership'' cherished by society. This is of course the reason for the eternal triangle drama being one of the most effective narratives. Someone always get caught in the end. The roles may be reversed but
there are always, the same way as in school during breaks, two against one.
It is not easy being two, and it is even more difficult being three. And if on top of that you are a proud Latin man and not a wimpish Swedish ditto you can twist the story a few more times. Luisa and Ramiro lives in a stable marriage with two children. Angel was Ramiro's best friend during adolescence and the three of them played together already as children. Luisa first married Angel but then realized that Ramiro was the man for her. Angel left for Venezuela to make money and to disappear from the other two's life. One day Luisa sees a beggar in the street. Angel does not appear as some kind of Max Cady of Cape Fear, but still he crushes the outer peace of the nuclear family. Luisa's feelings for her former love are not gone. But Angel is not feeling so good ... The director Vicente Aranda has made use of Luisa's and Ramiro's two children as a way of closing the circle; the returning Angel relives his childhood through them and in effect the root of what is happening. The mirror image is efficient.
In the end the woman - despite ''the deceit'' - retains her pride. And maybe she will go on. Thanks to her strong and true feelings. Ramiro, the lawful husband, stands as ''the winner'' in the end, but still he is the big loser. Maybe because of how the formerly repressed insight of our loneliness now becomes clear. Ramiro is the cool element of the drama. Still, it is the eyes of this yuppie, when he realizes that the fight against Luisa's love affair is meaningless, that leaves the strongest impression in my mind. ':'
Henric Tiselius