In February 2019, in full promotion of the comedy ‘Under one roof’, Cristina Castaño told eCartelera that one of her latest projects, “Caribbean, all inclusive”, was finishing its long post-production process. Miguel García de la Calera’s first feature film, the film was shot in 2017, which already indicated the problems it was facing in terms of distribution. As is known, 2020 was the year of the pandemic, which further delayed its distribution in Spanish theaters, even though it was precisely that year that it premiered at the Dominican Global Film Festival in the Dominican Republic, the country that co-produces the film. Five years after filming was over, the film finally has its commercial premiere.
An odyssey of a production whose original title was ‘Caribe Mix’, with the aim of recalling the titles of the compilations of summer songs that marked both the end of the 90s and the beginning of the 2000s. A reference for that time that is imbued with the tone in which the film was shot, which aims to be a plot comedy that carries part of the spirit of iconic titles of the genre such as’ Be unfaithful and don’t look with whom ‘,’ Wake up as you can ‘or’ Crazy heart ‘. And, in a way, it succeeds … albeit with a result that benefits the film very little.
The premise of “Caribbean, All Inclusive” is based on how Alicia and Elena, played by Hiba Abouk and Cristina Castaño, are two friends who travel to a luxurious resort in Punta Cana so that the former tries to forget her boyfriend for life., Fermín – played by Alejo Sauras-, who was unfaithful to him despite the fact that they intended to go through the altar. In this adventure they will have two unexpected guests. The first is Germán, Fermín’s companion, who travels to the Dominican Republic with the aim of recovering a high-value stone that Fermín stole from him and that Alicia has. The second is Fermín himself, who flies to the Caribbean country to get the mineral himself.
The story, whose screenplay is written by Eduardo Matres and based on an original idea by García de la Calera himself, tries to use the sitcom to perform an authentic tropical vaudeville, in which Dominican characters come into play, among which Vicente Santos stands out, the real protagonist of the film alongside Alejo Sauras himself, who barely appears in the film. On that side, it’s appreciated that the Dominican characters, many of them resort workers, have their own roles in this sitcom. Now, they’re not without a certain cliché of an exotic element that entices, though Santos offers a refreshing interpretation of the seductive rascal, capable of conquering characters of both sexes.
A comedy of plots in which Cristina Castaño and Marc Clotet stand out
In addition to throwing out somewhat old-fashioned stereotypes, the main disadvantage of “Caribbean, all inclusive” is that it doesn’t stop having the spirit of a sitcom from the eighties or nineties, but in the worst sense, which leaves a somewhat stale proposal that does not offer situations that cause true grace, despite the commendable effort of its actors. In that section, Cristina Castaño lifts the ribbon. At the time of filming the film, the Galician had just finished her internship in ‘La que se avecina’ and you can see how she has retained some of that comic aspect of her character in the Caballero brothers’ sitcom since her Elena has a bit of that slightly cynical Judith touch.
Castaño is splendid, as is Marc Clotet in the role of a stifling business partner, which contrasts with the energy of the “Toy Boy” actress. However, they alone, along with Santos, are unable to raise an overly conventional story which, to make matters worse, has a series of situations more typical of the Spanish commercial comedy of the late 90s or of films a little out of the ordinary in their approach, such as ‘The game of the keys’ or ‘Where two fit together’wanting to introduce polyamory or partner swapping among its elements.
A virtue it has “Caribbean, all inclusive” is that it is able to convey the refreshing and beachy touch that the whole movie has, as well as that vibe of ideal people and great bodies. Added to this is the ability to see Terele Pávez one last time on the big screen. As this is a production shot in 2017, the veteran artist has done one of his latest works in this project. However, it’s more of a cameo than a much larger role. She now leaves the same bitter aftertaste of goodbye as that left by Rosa María Sardá with ‘Salir del wardrobe’. While she doesn’t offer anything different and has a certain old-fashioned vibe, It will appeal to those who want to switch off and hear the waves of the sea at the cinema.
Note: 4
The best: The interpretations of Cristina Castaño, Marc Clotet and Vicente Santos. Its technical section shows that it is possible to make low-cost productions without reducing the visual quality.
Worse: The atmosphere of a stale and antiquated comedy that brings him dangerously close to “There is no way” or “Polyamory for beginners”.
Source: E Cartelera
