2023 TRIBECA FILM FESTIVAL REVIEW!
The world has become obsessed with their stationary bikes, and spin classes have become the norm. One day, while Spinning, a woman (Mara Andress) finds herself wrapped up in a bit of a scandal. She knows that money rules all, and that her way out is with her wealth. As she attempts to brush this unfortunate situation under the rug, she finds herself at the mercy of a cleaning lady (Alejandra Herrera), who is also privy to the ways of the world.
Death is at the center of Spinning, and the reality is that the entire film revolves around it. However, nearly everything else works to juxtapose this aspect of the film. It’s an interesting but brilliant choice, as the film comes alive vibrantly from beginning to end. Again, death is at the center of the film, and in a lot of ways everything revolves around it–yet, death is the thing viewers care least about while watching the film. This is certainly intentional, most definitely a comical look at how we address death in the real world when our own interests are at stake.
As we are pulled further and further into the narrative, we care less and less about the person that has died, and far more about whether or not someone will get away with it. It’s an interesting concept that Directors Aruturo Mendicuti and Isabel Vaca, and Writer Mara Vaca, are able to develop a film where we ignore death and root for the veritable antagonist. Sure, there are other films like this, but Spinning is presented to viewers in a way where the death feels very real, incredibly grounded–and yet we still look away and try to forget. It’s no secret that Spinning is a satirical piece attacking the ideas of money and greed–and the way in which it’s developed is brilliant.
Spinning remains grounded from beginning to end, and viewers are able to see things that mirror the real world. Puppies, stationary bikes, genuine human emotion, and more make their way to the front of the film and constantly remind viewers that, even if they haven’t found themselves part of a situation like this, all of this is incredibly familiar. Mendicuti and I. Vaca ensure that Spinning never becomes too dramatic, and that the tone of the film remains somewhat playful throughout. The playful nature of the film helps to strengthen the narrative and better express to viewers the ridiculous nature of what this team is attempting to bring to life.
Just like the rest of the film, the lighting is something that plays into juxtaposing the ideas of death strewn throughout the film. It seems like the brightness has been turned up, like that entirety of Spinning is meant to appear brighter and more vibrant than reality. This sort of extends itself past reality a bit, but not in a way damns the film, but rather strengthens it. With the visuals being so bright and vibrant it allows viewers to better understand the message and the issues being presented to them throughout.
I often find that satires dive a bit into the unbelievable and unrealistic in order for viewers to understand the content and idea that change needs to be made–Spinning doesn’t do this. The film is pretty straightforward (all things considered), and it does a good job of holding a mirror up to the real world in a way that looks and feels familiar. I’m not sure that there’s ever a moment when viewers have to dissect the film, or look for the hidden meaning; this team lays things out nicely for viewers, making it easily accessible from the opening moments. The powerful and deliberate juxtaposition between death and literally everything else makes the film interestingly fun and perfectly understandable. Spinning is brilliant.
Directed by Arturo Mendicuti & Isabel Vaca.
Written by Isabel Vaca & Mara Vaca.
Starring Mara Andress, Alejandra Herrera, & Rogue Sagardoy.
⭐⭐⭐⭐⭐⭐⭐⭐½/10
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