Summer 1993


Drama / Family

Rotten Tomatoes Critics - Certified Fresh 100%
Rotten Tomatoes Audience - Upright 82%
IMDb Rating 7.2 10 5,989


Downloaded times
June 13, 2020



720p.BLU 1080p.BLU
852.39 MB
Catalan 2.0
23.976 fps
97 min
P/S N/A / N/A
1.59 GB
Catalan 2.0
23.976 fps
97 min
P/S N/A / N/A

Movie Reviews

Reviewed by AmakoaAkana 10 / 10 / 10

A classic intimate portrait of childhood.

I give this movie a ten star rating. I suspect it will be remembered as a classic. The general feeling of the film and six year old Freda (Laia Artigas) remind me of The Spirit of the Beehive and Anna Torrent. Apparently other reviewers have felt the same. The film is perfectly and beautifully directed and filmed. The film is intimate, as if I am one of the characters in a family trying to raise a niece whose mother has just died of what in the early 90's was a mysterious disease. I could feel Freda's loneliness, pain, confusion and fear as well as her kind aunt and uncle's failure to breakthrough the child's depression. There is an undercurrent of fear that three year old Anna (Paula Robles) will fall victim to one of Freda's sometimes strange behaviors. The disease isn't specifically named but it is thought to be spread by touching the blood of someone who has it, that Freda might have it and accidentally spread it around the playground or to her new little sister. Freda is mystified by this, as well as a strange statue of the Virgin Mary in a nook of the forest. These sorts of scenes are to me much more spine-chilling than a bunch of boring, idiotic weirdly dressed super-heroes/action celebrities killing each other. There are plenty of the joys of childhood that are shared and balance the film.: Eating ice pops, learning to swim, taking the training wheels off of her bicycle, or the two little girls playing together around the farm, woods and farmhouse. In sum: A lovely film destined to become a classic intimate portrait of childhood.

Reviewed by howard.schumann 9 / 10 / 10

A sensitive and nuanced hymn to childhood

Boxes are stacked in the living room of six-year-old Frida's (Laia Artigas) house as she prepares to go and live with her Uncle Esteve (David Verdaguer, "Anchor and Hope") and Aunt Marga (Bruna Cusi, "Uncertain Glory") after the death of her mother. Spain's submission for Best Foreign Film at the 2018 Oscars, director Carla Simón's autobiographical Summer 1993 (Estiu 1993) is a sensitive and nuanced hymn to childhood whose magic is interrupted by the sudden dark intrusions of the adult world. As the foundations of six-year-old Frida's belief in the world as a safe place are shattered, she must come to terms with living with a new set of parents in a rural Catalan village far removed from the city of Barcelona in which she grew up. Calling on her childhood recollections, Simón's film consists of vignettes focusing on Frida's ability to adjust to her profoundly changed life. The relationship between Frida and her three-year-old cousin Anna (Paula Robles) alternates between the joy of spontaneous play, and Frida's acting out her grief in ways that threaten Anna's well being. From having fun playing in the bathtub to play acting as grown-ups and to joining a local Basque Carnival, the performances are so natural that they seem improvised. Though Esteve and Marga are warm people who are generous in their love, Frida is tentative and withdrawn. A visit to a doctor for testing show their concern about Frida carrying the AIDS virus (which it is hinted her mother died from), but the significance of the visit does not register on the child. Emotions bubbling beneath the surface do not appear until a visit by Frida's grandparents Avi and Avia (Fermí Reixach, "Night and Day," TV series and Isabel Rocatti, "El dia de mañana," TV series). Prompted by her grandmother's focus on praying, Frida sneaks out of the house at night to leave gifts for her mother in the woods near the statue of the Virgin Mary, but confides in no one. The grandparent's visit is traumatic for Frida, however. Despite their disparaging comments about their daughter's lifestyle expressed in Frida's presence, she desperately wants to go home with them and has to be physically restrained by her uncle. As her anger begins to surface, Frida uses Anna as a target of her distress, telling her cousin that she has so many dolls because her parents loved her so much. She also encourages Anna to jump into a pool with her even though she knows the water is above her head. In an even scarier incident, Frida leaves Anna by herself in the woods, telling her to wait there until she comes back. When she doesn't return, Marga panics while Anna falls and breaks her arm causing Marga to say that Frida is used to getting her own way and needs greater discipline, telling Esteve, "That girl has no morals." Having overheard the conversation, Frida decides to run away, heartbreakingly telling Anna that "no one loves me here." Led by Artigas' remarkably expressive performance, Simón guides the film to its stunning conclusion with a sure hand that avoids sentimentality, relying only on the resilience of childhood innocence and the impeccable strength of love to achieve its results.

Reviewed by CineMuseFilms 9 / 10 / 10

A sweet film to be savoured on many different levels

Many movies stand or fall on their final scenes because our memory retro-frames the film through its climax. Limp endings always disappoint but the last 20 seconds of the Spanish film Summer 1993 (2017) elevates what would have been just a sweetly lyrical tale of childhood loss into a powerhouse essay on the nature of grief. In simple linear fashion it's an uncomplicated story of six-year old Frida (Laia Artigas) who is abruptly moved into her aunt's home when both parents die from AIDS-related illness. We are never actually told about the illness, rather we see the shame and hear the silence surrounding why they died, and there is unmistakable discomfort around blood as a recurring motif. While her adoptive parents were not exactly delighted to have Frida, they are dutiful, kind and loving; family always comes first in Catalonian tradition. On the surface, all appears to be settling down well, especially for their three-year old daughter Anna (Paula Robles) who is thrilled to suddenly have a sister and a constant playmate. What makes this simple tale unique is how it is told entirely through Frida's point of view. The world of a six-year old moves slowly as the developing mind processes what is happening. The camera lingers on Frida's eyes and captures the shifting cycles of abandonment, painful loss, confusion, desire to belong, followed by laughter and child's play. Most scenes are languid in pace, framed at children's height looking up at an adult-controlled world. Scenes of backyard, bathtub and bedtime play show Frida initially on the fringe of belonging and gradually inching towards being part of her new home. It's normal family life and nothing untoward happens; even when Frida leaves Anna in the woods, you sense it is to gain attention rather than show malice towards the three-year old. If you prefer stories with strong forward narrative you may find this one too slow, even though it's impossible not to enjoy the exquisite naturalness of Frida and Anna. Children of this age do not act; they just are who they are, and the director's artistry lies in channelling their performance into a gently nostalgic autobiographical film. The full impact of the tale erupts during a final scene of joyful family bedtime play. Just when Frida is feeling safe and loved, she bursts into uncontrollable and inconsolable tears. It is a sight we have not seen before. This is a film to be savoured on many levels. The cinematography and settings are an obvious source of visual and emotional pleasure, but it is at a deeper level that this film delivers its greater impact. We will read it according to our life experience, but it says much about the importance of family and the way young children experience profound loss. At all levels, this is a film that leaves a deep imprint.

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