An unnamed mature woman, daughter of a Spanish Republican exiled lecturer, returns to her parents' country, where she meets a number of people from her past, including Miguel, Benito, Lorenzo and an unnamed Socialist politician. She translates Hölderlin's Hyperion in the family house.
The film, an expression of the disenchantment experienced after the Spanish transition,[1] underpins a criticism to the transition itself and the so-called pacto del olvido.[2]
Ángel Fernández-Santos of El País, considered The Lost Paradise to be a "prodigiously assembled" film, to which the camera of Alcaine "bordering on the sublime" and the musical score's intensity and coupling add up, filling it "with rare beauty", while noting that it featured a couple of events (two additions of "foreign coarseness") totally out of place.[10]
^While the character is not named in the film, the character can be read as Berta from Nueve cartas a Berta (1966). The latter character is not featured onscreen in the 1966 film.[3]
Pavlović, Tatjana (2008). "Los paraísos perdidos: Cinema of Return and Repetition (Basilio Martín Patino, 1985)". In Resina, Joan Ramon (ed.). Burning Darkness. A Half Century of Spanish Cinema. State University of New York Press. pp. 105–124. ISBN978-0-7914-7503-4.
Strategi Solo vs Squad di Free Fire: Cara Menang Mudah!
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