written by: Lucía Aleñar Iglesias
produced by: Marta Cruañas, Ariadna Dot, Tono Folguera, Olivier Guerpillon, Cesc Mulet, Giovanni Pompili & Marta Reguera
directed by: Lucía Aleñar Iglesias
rated: not rated
runtime: 97 min.
U.S. release date: May 29, 2026 (limited)

In the family drama “Forastera”, the feature-length directorial debut of Spanish writer/director Lucía Aleñar Iglesias, a bucolic summer vacation is interrupted by sudden tragedy. Set on Mallorca, one of Spain’s Balearic Islands in the Mediterranean, known for its beach resorts, sheltered coves, and limestone mountains, Iglesias leans into the location’s beauty. It’s a place Iglesias often visited as a child, which is probably why her film seems to know it so intimately. The title is often used to describe visitors or transplants to Mallorca from the Spanish mainland, and here it specifically refers to the teenage protagonist who unexpectedly navigates loss, grief, and identity.

The modern-day story follows 16-year-old Catalina “Cata” (newcomer Zoe Stein) and her sister, Eve (Martina García making her acting debut), as they spend the summer visiting their grandparents at their idyllic Mallorca home with a beautiful sea view. Cata has a chance to romantically reconnect with Max (Noni Ardal), a young man her age. Grandfather Tomeu (Lluís Homar) is proud of the patio’s newly-installed glass railing and repeatedly asks what everyone thinks of it. He is often visited by his friends for some outdoor card playing, joined by the observant Cata, who is delighted and intrigued by their company. Grandmother Catalina (Marta Angelat) spends most of her time in the kitchen, with her love language being preparing and serving food for her family and guests.

In these initial establishing scenes, Iglesias and cinematographer Agnès Piqué Corbera invite us to become the family’s guests, often viewing them from Cat’s perspective while capturing the ethereal sunlight or the clear night sky that surrounds the home. There’s also a feeling that something else is with us. It could be the presence of an alleged ghost in the house, which causes the kitchen light to flicker, but nothing is overtly established or explained, which lends an uncertainty to the atmosphere.

Things take a sudden turn late one night when Cata discovers Catalina, face down, outside, near the stairs. No foul play is suspected, but it’s nevertheless a mystery how she died. Why was the family matriarch awake and about so late at night? Was she really taking out the trash?

How the surviving family members deal with the sudden loss occupies the rest of “Forastera”, in particular, the impact it slowly has on Cata. While a shocked Tomeu is in a daze, gradually registering that his beloved wife is gone, he eventually finds it difficult to get out of bed and loses interest in doing anything other than staying at home. Meanwhile, more than one person tells Cata how much she looks and sounds like her grandmother, which confuses Tomeu. The sisters’ mother, Pepa (Núria Prims), rushes to their side to support them and their father, but she unintentionally causes friction in the home. Cata starts to envision herself more and more like her grandmother, wearing her vintage dresses and spending more one-on-one time with her grandfather.

Cata believes she is helping and may be taking on the role of caregiver, but Pepa warns her against such actions. As she subconsciously veers into awkward territory, Cata absorbs her grandmother’s belongings and believes she is finding a new connection and understanding. She’s unprepared for the emotional impact her behavior has on herself and her family, and must inevitably figure out who she is and who she wants to be.

“Forastera” conjures confusing and complex feelings of self-discovery during a time of unexpected mourning. It’s a feeling many viewers can relate to when someone close passes away. Cata may not have known her grandmother as well as her mother or grandmother, but she felt her love and joy, and perhaps feels she could somehow keep her legacy alive. Iglesias never casts judgment on Cata or anyone else in the film, but rather gently and tenderly presents them as multi-dimensional human beings trying to figure things out, like anyone else.

Iglesias is comfortable with ambiguity, especially when it comes to how memories can haunt and linger, and how the supernatural can manifest itself during times of grief. Time is given for the audience to ruminate on all that is transpiring, without feeling that the film’s pace is dragging. Eventually, “Forastera” offers an effective and artful examination of familial comfort and healing.

“Forastera” is an expansion of the 19-minute short film of the same name, which Iglesias finished in 2020. When the feature film premiered at last fall’s Toronto International Film Festival (TIFF), it won the FIPRESCI Prize for emerging filmmakers and has since made its rounds on the festival circuit, including the recent Chicago Latino Film Festival.

RATING: ***