Rather than deliver some counterpoint to this prevailing glum, wintry mood, Contreras and his scriptwriter brother overload the doom and gloom wherever possible, and rarely subtly. There is the sense throughout that director Contreras is straining to leave his own stylistic imprimatur on what is, after all, a fairly standard tale of passions and infidelities. Rarely do any of the characters smile: every relationship is contaminated with guilt and uncertainty, and every relationship is a brake on the chance of more fulfilling relationships elsewhere. About an hour in, each of the protags does an odd thing: Pina throws out all Lorenzo’s toys, while Igor uses all Flora’s savings to buy a photocopier. He’s regularly the victim of Pina’s outbursts. She lives alone with her vengeful, manipulative young son Lorenzo ( Hayden Meyenberg, excellent), who blames her for the breakup of the marriage. Pina’s life is also limited by love’s impositions. As a character, the testosterone-driven animal that Igor becomes whenever he gets a whiff of Pina sits a little awkwardly beside the timid, subservient chap he is at home, which might just be because he loves Flora.
Igor is locked into a childless marriage with nervy Flora ( Cecilia Suarez, who also starred in Eyelids) and into a routine existence which involves little more excitement than visits to the cinema. Spring follows Eyelids in moving between the stories of two people who can’t quite manage to get it together.
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