‘The top’ is a film that, above any possible “but” that we can put in it, works as any self-respecting film should work: tailored to its own ambitions and concerns (as long as it has some, of course). And within these ambitions and concerns tinged with the pristine white of snow that continually frame it, it is an austere, intimate and minimalist drama to which Javier Rey and Patricia López Arnaiz endow it with life, warmth and, above all, credibility. Yes, it is true that the final section is somewhat forced and is not as organic as everything that preceded it. And yes, it is also true that at the beginning Rey presents himself as the protagonist when in the end it is López Arnaiz who ends up being the protagonist, which partially attenuates the dramatic resonance of both the story and the characters. But, what has been said, ‘The top’ is a film that, above any possible “but”, works to the extent of its ambitions and concerns. That he has them, or why he has them. “The top” of the film is something real as well as something psychological and emotional. A metaphor built on reality. And it is that the film is a simple but well framed drama about two people broken inside who meet, and are saved in the middle of nowhere (of life and the world). A film with that necessary populist touch that makes it perhaps not especially good but, there is always a but, it is as effective as it is ultimately adequate and opportunely emotional.
By Juan Pairet Iglesias