American Fable is ambitious, maybe too much so sometimes, but there's an intense pleasure in the boldness of the film's style.
Here is a lovely idea for a film, sidetracked by a central performance that is too maddeningly passive. "Amador" introduces us to Marcela, a Bolivian woman now living in Madrid with Nelson, a man who runs an ingenious business: He hires scavengers to swarm down on a garbage dump and pick up discarded flowers that still look halfway presentable. They wash them, store them in a refrigerator, spray them with flowery scent, wrap them in paper, and send their team out to peddle them on the street and in cafes. I have a feeling I may have purchased a few roses with that lineage from flower girls in Cannes.
Their refrigerator breaks down. There is a crisis in making the payments on a replacement, and Marcela (Magaly Solier) takes a job as a daytime companion for Amador (Celso Bugallo), an old man who rarely leaves his bed and passes his days assembling big jigsaw puzzles. He loves scenes of sea and sky, because the whites and blues blend together and make them trickier.
Marcela is a warm, soulful woman who is unhappy with her life. When Nelson talked her into moving with him to Madrid, he painted a future where they'd have their own flower shop. Now she hardly has a home; the business is run out of their apartment, and when Nelson mounts letters on the refrigerator door spelling out "Marcela's Flowers," somehow that doesn't seem what he promised.
Amador is quiet and pleasant, suspecting his time has about run out. Marcela met Yolanda (Sonia Almarcha), his daughter, when she and her husband hired her, but they have never visited. Marcela cooks Amador's meals, helps him sit on the pot and makes desultory conversation. Much of the film involves close-ups of her face, thoughtful and pensive, as she ponders her life. Too much of the film.