San Sebastian Film Review: ‘Wounded’

'Wounded' Review: Marian Alvarez Stars as

Fernando Franco's claustrophobic, unsatisfying debut feature charts a young woman's descent into mental illness.

A young woman descends into the vacuum of mental illness in “Wounded,” a claustrophobic, unsatisfying debut feature from noted editor Fernando Franco. Designed to highlight the lonely paranoia that can come from undiagnosed borderline personality disorder (BPD), the film frustratingly withholds vast amounts of information, and then beggars belief by imagining that not one person would intervene when confronted with her obvious crack-up. Marian Alvarez’s fine performance (which earned her an actress award at  San Sebastian) miraculously finds moments in which to make her character likable, but otherwise, “Wounded” was an odd choice for the festival’s special jury prize. Anemic fest play is likely.

It can’t be just the camera that notices ambulance worker Ana (Alvarez) is struggling: She’s edgy with everyone but her patients, given to mood swings and hyperventilation, yet not even Jaime (Manolo Solo), her colleague of four years, notices anything is amiss. The 26-year-old lives with her mother (Rosana Pastor) but rarely communicates with her bewildered parent, instead spending home hours messaging a guy with whom she seems to have a tentative suicide pact.

She’s also been cutting herself with razors and burning her flesh with cigarettes. Such actions are painful to watch, and Ana goes to some lengths to ensure the scars aren’t seen. However, when her mother walks into the bathroom and sees her daughter’s naked body, she merely looks startled and awkwardly backs away, with no follow-up. Later Ana accuses her mother of cowardice, but such disengagement goes beyond all credibility.

Telephone fights with her boyfriend Alex (Andres Gertrudix), via blistering, obsessive calls, send her further into a tailspin, not helped by cocaine and liquor consumption. By now Ana’s jitteriness has reached critical level, and she’s mired in lies, misunderstandings and false memories. Things don’t go well when she attends her father’s second wedding, leading to an unexpected sudden flash-forward by at least six months, during which time there’s a possible implication that she’s being treated. Any relief is temporary.

Franco’s conception of the isolation felt by people with severe mental illness rings true, and his cataloguing of the disturbing symptoms will be familiar to many health providers, which is one of the reasons why it doesn’t quite make sense that Ana works in an allied profession, yet no one notices her deterioration. Granted, she’s able to pull herself together around clients (she transfers patients to regular appointments), so there are moments of projected normality, and her warmth and consideration at these moments are notable. However, she’s incapable of controlling herself in any other situation. BPD itself is never mentioned; nor is any diagnosis, since Ana apparently hasn’t the wherewithal to have herself checked.

That Alvarez manages to mine brief moments of relaxed fellow feeling and make Ana sympathetic is something of a miracle, testifying more to the actress’ considerable talent than to the script’s honesty. Stylistically the film holds interest, thanks to Franco’s conception of a closed-in world visualized by tight shots hemming Ana in from all sides. Early visuals following her from behind, with the camera violently jiggling up and down with her footfalls, eventually subside as Ana’s emotional upheavals take center stage.

San Sebastian Film Review: 'Wounded'

Reviewed at San Sebastian Film Festival (competing), Sept. 26, 2013. (Also in London Film Festival — First Feature competition.) Running time: 99 MIN. Original title: "La herida"


(Spain) A Golem Distribucion release of a Kowalski Films, Elamedia, Encanta Films, Pantalla Partida, Ferdydurke production, in association with ETB, Behind the Movies, with the participation of Canal Plus, in collaboration with Ecam. (International sales: Imagina Intl., Madrid.) Produced by Koldo Zuazua, Samuel Martinez, Mario Madueno, Roberto Butragueno, Manuel Calvo, Fernando Franco. Executive producers, Koldo Zuazua, Samuel Martinez.


Directed by Fernando Franco. Screenplay, Franco, Enric Rufas. Camera (color, 16mm), Santiago Racaj; editor, David Pinillos; music, Ibon Rodriguez, Ibon Aguirre; production designer, Miguel Angel Rebollo; costume designer, Eva Arretxe; sound, Aitor Berenguer, Nacho Arenas, Jaime Fernandez; casting, Arantza Velez.


Marian Alvarez, Rosana Pastor, Manolo Solo, Andres Gertrudix, Ramon Agirre, Ramon Barea, Patrizia Lopez, Luis Callejo, Mariano Estudillo, Mikel Tello, Paco Obregon, Inaki Ardanaz, Josu Ormaetxe, Nagore Aranburu, Loinaz Jauregi, Elena Arranz Martinez, Estela Sanchez Murillo, Anartz Zuazua.

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  1. Maria says:

    If the diagnosis is BPD then the aspects baffling the reviewer actually make complete sense. People with BPD can be very functional in some settings, and extremely dysfunctional in others. Many people with BPD are functional at work and caring towards others – it is often in more intimate relationships where the illness really shows itself.

    When it comes to her mother ignoring self harm, this is not as uncommon as you might think. Many families don’t know how to address the issue, and so simply avoid it. Likewise, BPD is hard for colleagues to understand, the behaviours are very different and less consistent that in other mental illnesses – depression for example.

    I have Borderline Personality Disorder and although my self harm is known to my family, it is never mentioned. Likewise, my suicide attempts leading to hospitalisations are also never mentioned again. Many people with BPD come from families with complicated family dynamics, or sadly in some cases neglect and abuse.

    I can’t comment on a film I haven’t seen, but I think that what has frustrated the reviewer is probably what frustrates many people with BPD, their carers and health professionals.

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