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As a second part, after twenty years of shooting the first perplexed witness the revelation of the absolute decline of the characters in "El desencanto", Leopoldo María see a even crazier, a Juan Luis increasingly elusive and Michi consumed by a slow but inexorable disease, daring to scratch a little deeper into the interior of the relatives of the Panero miseries.
If in "El desencanto" could see inside of people like the wife and mother, Felicidad Blanch-true driving force of the film in spite of the ghost of the poet Panero, and outline the personal ruin of four individuals, in "Después de tantos años" through a sick and aged Michi encontrarmos a bleak reality. Which opens the door to absolute end. For me these two films, more than a symbol of the decline of Franco, are a bold bid to explore the intricacies of family relationships, with the interesting, no doubt, the election of a bourgeois family of post-Franco Spanish intellectual rundown.
The engine absent both films, the poet Leopoldo Panero, is only present in the new and critical comments of their children to specific situations in their lives together.
But the adjustment of accounts that might exist in the first installment of the series for its proximity in time, it is now diluted in the hatred of the past and absolute skepticism by a present where a future without expectations, glimpsed only physical death.
Shows the technical and creative well crafted sequences prematurely in some unfortunate Ricardo Franco (notably the reunion during the ride for younger siblings against the ruins of what was magnificent family mansion Astorga) and the main objection that I can make the new family portrait is the perhaps excessive use of flashback images referring to the first film and the use of an inappropriate soundtrack.
"Después de tantos años", Panero family returns to the "disenchantment" (the past always comes back), but this time in the form of utter hopelessness.
6/10
