The Offering
An 'erotic' thriller from Spain offers more sex and nudity than conviction.
Alex Brendemühl
Some months ago Sovereign Film Distributors were set up to release films in the UK from around the world with a particular emphasis on what they regarded as auteur-driven talent. Their first five offerings have been striking, not least the demanding but extraordinary Malmkrog and the engrossing drama Verdict made in the Philippines. In contrast to that, however, I now have to express disappointment with their latest release, The Offering. It comes from Spain and received a number of nominations for the 2021 Gaudí awards winning one for Verónica Echegui as Best Supporting Actress (the film’s other main actress, Anna Alarcón, was nominated as Best Female lead but lost out). Nevertheless, while the direction by Ventura Durall is certainly competent, I feel that the material is unimpressive and unpersuasive.
Publicity for The Offering describes it as a psychodrama, a term that could lead one to anticipate an insightful study of human behaviour but which could no less readily suggest a melodrama. Duvall, co-writer as well as director, rushes straight in so that even before the credit titles conclude we have been confronted with porn footage, news of a death, indications of parental sexual abuse and a suicide bid. That is just by way of introduction and what follows is the story of how Jan Sorell (Alex Brenemühl), although now married to Rita (Echegui’s role), sets out by underhand means to renew contact with Violeta with whom he had had a passionate affair twenty years earlier. Flashbacks illustrate that relationship so we see Violeta as she was (Claudia Riera) and as she is now (that’s Alarcón). The present-day Violeta is married to a teacher named Nico (Pablo Molinero) and they have two young children. She works as a psychiatrist so Jan persuades Rita to see Violeta professionally with an invented tale about him which can be used to bring about a fresh meeting between the former lovers.
Although The Offering can be regarded as a tale of obsession with Jan at its centre, Jan himself is a rather undeveloped one-note character and it is Alarcón and Echegui who have the better opportunities to make something of their roles. At the same time, there’s an emphasis on sex and nudity which could be seen as the film’s selling point, yet audiences drawn in by that may well find that the running length of 111 minutes draws things out in a way that would only be beneficial if the story were more persuasive. As it is, the longer the film goes on the less convincing the tale seems. The best moment comes relatively early on in a short flashback scene in which the young Violeta declares her belief that the love which she has found will be eternal. Very tellingly this moment is placed between scenes of Violeta in her uneasy present-day life. There’s a neatness and precision there, but because the story increasingly encourages one to view the film in disbelief everything else goes for very little despite the best endeavours of Alarcón and Echegui.
Original title: L’ofrena.
MANSEL STIMPSON
Cast: Alex Brendemühl, Anna Alarcón, Véronica Echegui, Pablo Molinero, Claudia Riera, Josh Climent, Jaime Linares, Imma Sancho, Antonio Buíl, Laura Weissmahr, Mònica Van Campen, Talia Bohoyo.
Dir Ventura Durall, Pro Pepe Andreu, Sergi Cameron and Salvador Sunyer, Screenplay Sandra Beltén, Ventura Duvall and Clara Roquet, Ph Álex García, Art Dir Víctor Santacana, Ed Marc Roca, Music Alberto R. Lucendo, Costumes Inés Liverato.
Bord Cadre Films/Fasten Films/Nanouk Films/Suica Films-Sovereign Film Distribution.
111 mins. Spain/Switzerland. 2020. Rel: 30 July 2021. No Cert.