Review “Maixabel” a story based on true events

The director, Icíar Bollaín, has already demonstrated that she is very fluent in drama. Her cinema, costumbrista and with vindictive overtones, has given us such profound titles as Te doy mis ojos, El olivo, También la lluvia or Rosa’s wedding. In Maixabel, Icíar Bollaín Bollaín portrays a heartbreaking story based on true events, that of Maixabel Lasa, widow of Juan María Jaúregui, murdered by ETA in Tolosa in the year 2000. Ten years later, those who left her a widow ask to meet with her to ask for her forgiveness. Maixabel recreates with incredible sensitivity the true story of the so-called restorative meetings between ETA victims and repentant terrorists, in short, a stupendous review of a conflict that still raises eyebrows

Maixabel by Icíar Bollaín

It is clear that with Maixabel the director shows that not everything has been said about such a delicate subject as ETA, at least in cinema. Maixabel is a respectful representation of a terrible conflict. Approached with the utmost delicacy, this drama will leave no one indifferent


To resolve this powerful drama, the director has once again surrounded herself with excellent actors and actresses. Blanca Portillo (Maixabel Lasa) and Luis Tosar (Ibon Etxezarreta) are excellent, brilliant and absolutely convincing. No less so are Luis Carrasco (Xabier Makazaga) and María Cerezuela (María Jaúregui). The harsh and emotional encounters between the protagonist and two of her husband’s murderers, restrained but no less intense, stir the guts, take the breath away and make the hair on the back of your neck stand on end

Maixabel and ETA

It has been a decade since the terrorist group ETA announced the long-awaited “definitive cessation” of armed activity. But cinema still has a lot to say. Maixabel puts on the table a debate that is still present and, with a clear discourse, invites, or not, to hope and reflection. Honest and brave cinema that in this case deals with guilt and forgiveness. Undoubtedly a solid drama in which the director Icíar Bollaín takes a risk with a far from simple story, that of whether we are prepared to close wounds or, perhaps, there are some that can never be closed. A film that shows that the wounds in our society are still present and that will undoubtedly provoke debate when you see it

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