Damned Old People (NaN)

To most of us, an inconsolable loss is something from which recovery may often be next to impossible. The pain and anguish can be unbearable, especially when they’re piled on top of existing challenges and a legacy of disappointments. The elderly are particularly susceptible to these effects, as is the case with eighty-something widower Elias (Jaime Bonelli), who struggles to find a reason to carry on after the death of his wife. With his health failing, his finances in a freefall, his home in a shambles and his outlook on life being one of perpetual anger, the cantankerous senior reaches his last straw when he’s beset by the constant overnight howling of the neighborhood’s combative cats. Much to his surprise, though, one of the belligerent felines, a stubbornly affectionate tomcat, takes an undeniable liking to Elias, despite his longstanding and widely known contempt for pets of all kinds. However, given the animal’s loving persistence, he crawls his way into Elias’s heart. They become best buddies, providing the old man – who names his adopted new friend Simon – with a renewed outlook on life. Elias resumes taking care of himself, his house and his money matters, not to mention the well-being of his four-legged pal. (Think of this as like a latter-day “Harry and Tonto” (1974).) But, for various reasons, not everyone is agreeable with the changes in the old man’s ways, including his son (Danilo Esteves) and next-door neighbor (Poén Alarcón), circumstances fraught with consequences that can bring out the worst in those “damned old people.” This impressive debut feature from writer-director Xavier Chávez is a flat-out winner across the board, one that skillfully combines moving drama, ample heart tugs, dark comedy and macabre, chilling suspense with a seamlessly blended concoction of twists and turns sure to send one on a rollercoaster ride of emotions right up to the final shot. The gripping, heartfelt performance of Bonelli in his final film role will touch viewers in many ways, likely prompting frequent grabs for the hanky (so keep it handy). And then there’s dear Simon, who’s sure to work his magic on audiences as easily as he does with Elias. Admittedly, the opening act drags slightly in spots, but that’s more than made up for by what follows, a thoroughly engaging film that otherwise succeeds in virtually every way imaginable.