LA BOLA NEGRA

From the opening moments in Sebastián's town as obliteration takes hold, death and brutality are everywhere. It's evident the film doesn't intend to shy away from the most confronting parts of the story, whether that be physically or emotionally. That leaves a lot for the audience to digest; these aren't pleasant times, but where preconceptions and prejudices - even on the battlefield - still reign.

In the true fashion of life, this harshness is interwoven with some of the most tender moments of cinema. Not sex, not passion, but connection. None here is more poignant that between Sebastián and Rafael. Sebastián is hesitant at first, furiously concerned his charge will get the upper hand. But through many hints and subtleties over time spent together, a connection forms, and they find out their similarities far outwigh their differences. By the time Sebastián learns Rafael is due to face the firing squad, he's unable to hide his true feelings any more, and an intimate of connection, purely emotional, allows their true feelings to be revealed. The lightest touch of fingerprints down the others' injured offers the understanding of unbridled care and compassion; fleeting, secretive talks after Rafael's death row detention allow a frank outpouring of the truth.

The supporting cast is some of the strongest a film of late has seen, the pinnacle of which is Penelope Cruz's ('The Invite', 'Parallel Mothers') Nené, a performer brought in to entertain the wartime troops. Her story motives end up being multiple; however, as she's fighting off the male touch, her encounter with Sebastián sees him soften his worldview. There are also phenomenal on-stage ensembles that stagger and see a costume (and wig) change between. Glenn Close ('Swan Song', 'The Wife') as the historian from the U.S. has a pivotal tale to tell to Alberto as he contemplates what to do with the invaluable paperwork he's been gifted. None of the cast feels a hair out of place, nor the crew - the set dressing is exceptional, and Gris Jordana's cinematography, staying away from bursts of colours and leaning on pastels, emphasises the wartime aspect, even when not necessarily in that era.

Undoubtedly, there is a defining storyline and theme that intertwines across 'La Bola Negra', and each timeline, twisted together, is designed to play its part. Not one in front of or behind the screen takes a step out of place, but nothing moves us in the way Sebastián and Rafael do. It's blossoming, fleeting, it's finite. Its outcome is written upon their first meeting. The cruel twist of fate ensures that whatever happens, it can only be so intense and for so long.

It in itself works in symmetry with Rafael and Federico García Lorca's tiptoed relationship, at a time when homosexuality wasn't just one shunned, but something that could lead to concerns with personal safety. Rafael, finding instant connection with the enigmatic Federico, but hesitant as to how to initially proceed. Lorca will eventually become internationally famous for his outstanding works in Spanish literature. However, to date, only four known pages of 'La Bola Negra' exist, and so its finale becomes a creative interpretation in this film.

The message behind it is simple: despite the reservations and the fears we may face, our lives are short. We never know when they will come to an end. All that will be left when that happens is regret and longing. If there's one message that 'La Bola Negra' tries to pass on to its audience, it's this - don't wait. Do today the things that are important to you. Don't hold back. Stop worrying about what people will think of you. Sometimes you only get one chance, but even the most fleeting time to feel complete is worth an aeon more than a lifetime of regret.