Ventura Pons’ BARCELONA (UN MAPA) is a hypnotically involving drama based on the stage play of the same name by Lluïsa Chenille. Explicitly flagging up imagery of Franco in the opening, this personal drama takes place in unromanticised version of the Catalan capital, as we are gradually drawn in by characters that subvert themselves before our eyes.

The story follows an elderly couple as they encourage the three lodger occupants of their house to move out. Gradually secrets are unveiled as the film gently paces through the characters it presents to us. Playing almost as a series of chamber vignettes, the acting is strong throughout, with a strong hand behind the camera allowing the visuals and piece as a whole to rise above the involving, but perhaps still quite stagey, dialogue.

The most fascinating aspect of BARCELONA (UN MAPA) is the carefully paced quashing of our assumptions regarding the ensemble of characters…

The most fascinating aspect of BARCELONA (UN MAPA) is the carefully paced quashing of our assumptions regarding the ensemble of characters as they interact. As conversations progress, revelations and roles change – however, the strength of the acting and the manner in which this is done means that it never rings false. The film doesn’t lurch into these moments – rather than pulling a hard left, it is gentle weave. Although it perhaps weaves a little too far into a dead end with Ramon’s final reveal, the film remains true to its vision. Throughout, BARCELONA (UN MAPA) rejects populist visions of the city and it could be argued Ramon’s final revelation is part of this.

The major difficulty with any stage adaptation is making the final product sufficiently cinematic. With the use of cuts to flashback, and visual flourishes such as seeing the words of a diary appear on the page, Pons has achieved this. A quietly dramatic series of chamber vignettes, the measured rhythm of BARCELONA (UN MAPA) will gradually draw you in.

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