TEHRAN- “Sundays,” a 2025 drama film directed by Spanish filmmaker Alauda Ruiz de Azúa, will be reviewed at the Arasbaran Cultural Center in Tehran on Sunday. 

Film critic Kourosh Jahed is set to attend a screening of the film followed by a review session.

“Sundays” is a masterful exploration of a young woman’s search for belonging and spiritual sanctuary. Set against the evocative backdrop of the Basque Country, the film delves into the psychological complexities of a teenage girl caught between the rigid expectations of her family and an intense, internal longing for a cloistered life.

The narrative centers on 17-year-old Ainara, who, during a religious retreat, feels a profound calling to join a convent. This aspiration sets off a chain reaction within her fragmented family. Ainara’s father, Inaki—a widower and restaurant owner—is depicted as an aloof figure, more preoccupied with his business ventures than with his daughter's emotional well-being.

In contrast, her aunt Maite, an atheist cultural manager, represents the voice of worldly reason. Maite is horrified by Ainara’s desire for "vocational discernment," urging her niece to embrace the experiences of youth rather than retreating into a life of silence and prayer.

As Ainara navigates her spiritual journey under the guidance of Father Chema, the tension between her domestic reality and her divine aspirations heightens.

The film skillfully portrays the friction of the Basque household: Maite’s marriage to Pablo is in crisis, and Inaki’s financial instability colors his perspective on Ainara's future. The conflict reaches a boiling point during a moment of adolescent vulnerability when Ainara is caught in a romantic encounter with a fellow choir member, Mikel. The ensuing family row underscores the deep disconnect between Ainara’s internal world and the perceptions her family holds of her.

The tragedy of the film is heightened by the death of Ainara’s grandmother, Maria Dolores. This loss triggers a volatile explosion of rage from Maite, who reproaches Inaki for his financial failures and his perceived indifference toward his daughter. In a devastating confrontation, Maite views Ainara’s desire to become a nun not as a spiritual calling, but as a symptom of the emotional trauma following her mother's death. The tension culminates in legal battles over inheritance and a heartbreaking rift that seems irreparable.

Despite the pleas of her family and the chaos of her home life, Ainara chooses the convent, taking her vows to become a cloistered nun. Her decision is not presented as a simple escape, but as a definitive act of self-determination in a world where she felt unseen.

The film was a monumental critical triumph, sweeping the awards circuit across Europe and Latin America. It debuted with a dominant victory at the 73rd San Sebastián International Film Festival, claiming the Golden Shell alongside the Irizar Basque Film, Feroz Zinemaldia, FIPRESCI, and SIGNIS awards. Its acclaim continued at the 40th Goya Awards, where it won Best Film, Best Director, and Best Original Screenplay, while Patricia Lopez Arnaiz and Nagore Aranburu were honored for their outstanding acting.

The film’s success extended to the 13th Feroz Awards, the 81st CEC Medals, and the 5th Carmen Awards, cementing Alauda Ruiz de Azúa's status as a visionary director. Its international reach was further validated by nominations at the Platino and Sur Awards, and a win for Blanca Soroa for Best Actress at the 13th Platino Awards. 

SAB/