An irresistible pull exists for those excluded from family secrets, though these hidden matters frequently remain concealed for good reason. However, when circumstances require their exposure—particularly for individuals looking in from the outside—those mysteries may surface, regardless of how uncomfortable, awkward, or shocking they prove to be. These are precisely the conditions faced by an 18-year-old woman in writer-director Carla Simón’s latest, semi-autobiographical film. The story unfolds in 2004 and follows Marina (Llúcia Garcia)’s journey to Vigo, a port city on Spain's Atlantic Coast, where she was conceived by her deceased biological parents and the home of her relatives. With plans to begin studying filmmaking at university and needing funding through a government grant, Marina requires documentation confirming her parentage. Specifically, she needs verification regarding her father (Mitch Martin), whose records indicated he had no children at the time of his death. This discrepancy can be resolved with testimony from her grandfather (José Ángel Egido), whom she’s never met. Her lack of contact with any relatives motivates this trip, offering a chance to explore her heritage and, potentially, her own sense of self. She also hopes to gain insight into her biological parents, as her late mother's diary represents the only tangible link she has to them. Initially, Marina forms positive connections with her uncles, Lois (Tristàn Ulloa) and Iago (Alberto Gracia), and several cousins. However, during these encounters, she gradually learns unfavorable details about her grandparents’ character and unsettling truths about her parents—revelations more significant than anything found in her mother's diary. Information regarding drug addiction, health problems, a carefree lifestyle, and inadequate familial support emerges, prompting Marina to question the implications of what she is discovering (and whether it would have been better left unknown given her need for the official paperwork). While the film tackles sensitive issues across various aspects, and likely provides a therapeutic outlet for Simón, the disclosures feel somewhat understated and drawn out, lacking the impact they could have had. Granted, conditions in the 1980s (when Marina’s story began) were not as tolerant as today or even during the narrative's timeframe. Nevertheless, given the subject matter and its messages, the film feels restrained, missing a sense of urgency and outrage that it should convey. Consequently, "Romería" feels somewhat incomplete. It also contains sequences that don't quite fit with the rest of the production, such as an extended flashback reconstructing Marina’s parents’ romance based on her mother’s diary—information much of which had already been revealed through conversations. The style of this flashback is also strangely surreal at times, a visual choice that feels out of place. Ultimately, "Romería" seems like a missed opportunity, one where the director may have been too personally invested in the material to do it justice. While this biographical drama might have benefited the filmmaker’s personal well-being, as a cinematic work, it falls short, particularly in highlighting past wrongs that shouldn't be forgotten or repeated.

Source on TMDB