Alimañas

Alimañas approaches its comedy material with more interest in character than a quick synopsis might suggest. Directed by Pep Anton Gómez and Jordi Sánchez, it leans on Jordi Sánchez and Carlos Areces to give the material a human centre. The spoiler light setup draws different, estranged and brothers into the same story, creating a specific hook without requiring a long recap. The film's first job is to make that setup feel worth following, and it establishes the necessary stakes efficiently.

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Its funniest moments come from contrast: confident characters meeting inconvenient reality, or a serious setup collapsing at exactly the wrong time. That comic rhythm gives the film personality beyond the basic premise. The material contains workable ideas, but the finished film feels uncertain about tone and emphasis. Momentum stalls, important beats are pushed too hard, and the performances have little space to develop beyond function. Individual moments work; the overall experience does not cohere.

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Jordi Sánchez and Carlos Areces carry much of the emotional responsibility, and their different approaches keep the central relationship from becoming one note. Loles León makes a strong impression without pulling focus from the main line. Pep Anton Gómez's direction gives reactions time to register, which is important in a film where a look or hesitation can communicate more efficiently than another explanatory exchange.

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Thematically, Alimañas is interested in status, embarrassment and the gap between the person someone wants to be and the person everyone else can plainly see. The humour matters because it exposes vanity and vulnerability at the same time, allowing a joke to reveal character instead of merely interrupting the story. The film is most persuasive when these ideas emerge from behaviour rather than speeches. That additional layer gives the story more purpose than a sequence of familiar genre beats, even if every implication is not explored with equal depth.

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The technical work is modest but thoughtful. Cinematography creates an appropriate sense of intimacy, the edit finds rhythm inside conversation, and the soundtrack knows when to step back. Rather than demanding admiration, these elements create conditions in which the cast can hold attention. That may be less immediately spectacular, but it suits a film whose meaning depends on behaviour.

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Neither the pacing nor the character work gives the premise enough support. Exposition takes the place of discovery, and the louder moments feel disconnected from the quieter ones. The cast remains professional, but the material rarely lets them surprise us.

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The result is disappointing rather than disastrous. Alimañas contains enough talent to suggest a better film, but little reason for comedy fans who enjoy character, timing and an ensemble willing to look a little foolish to prioritise this version.