How "People in Places" Ruined Any Expectation and Discovered a New Laughter

A Spanish filmmaker's latest project, Gente en Sitios, has sparked debate over its comedic approach and its reflection of contemporary cultural trends. The film, directed by Juan Cavestany, marks a continuation of his evolving cinematic style, which critics argue has shifted significantly since his earlier work, including Borjamari y Pocholo (2004). Released in a political climate marked by renewed conservative influence, Gente en Sitios has drawn attention for its perceived embrace of what some describe as "posthumor", a concept introduced by critic Jordi Costa in his 2018 collection of essays, Una Risa Nueva. According to Costa, posthumor represents a failure within the mechanisms of comedy itself, producing laughter that is nervous, even hysterical, often emerging from silence or embarrassment. Cavestany’s career trajectory has been anything but linear. His early collaboration with Santiago Segura and Javier Gutiérrez in Borjamari y Pocholo was met with mixed reviews, with many finding the film’s portrayal of two immature, pretentious characters both absurd and unappealing. Despite this, the film became something of a cult favorite, partly due to the involvement of Juan Cavestany and producer Enrique López Lavigne. At the time, Cavestany was associated with the theatrical group Animalario, known for its provocative and politically charged performances. This association placed him at the center of a broader cultural shift in Spain during the early 2000s, particularly around the time of the Goya Awards, which had become a battleground for ideological conflict. By the late 2000s, Cavestany had begun working independently, with films such as Gente de Mala Calidad (2008) receiving harsh criticism for their lack of depth and direction. However, he gradually found a more refined voice with Dispongo de Barcos (2011), a low-budget feature that originated from a shorter film, El Último Golpe. This project focused on a botched robbery attempt, highlighting the incompetence of the criminals through dialogue and planning failures. The film stood out primarily for its production value, which was minimal but effective in conveying the chaotic nature of the plot. The release of Gente en Sitios comes amid a broader discussion about the state of Spanish cinema and the role of humor in modern storytelling. Critics have noted that the film seems to continue the trend established by Borjamari y Pocholo, using absurdity and failure as central themes. Some observers suggest that this approach reflects a growing disillusionment with traditional forms of comedy, which they see as increasingly artificial or outdated. Others argue that Gente en Sitios is simply another example of filmmakers experimenting with new ways to engage audiences in a rapidly changing media landscape. The film’s reception has been varied. While some viewers appreciate its irreverent tone and willingness to push boundaries, others find it lacking in substance and coherence. Industry insiders have pointed out that Cavestany’s work often walks a fine line between satire and self-indulgence, making it difficult to categorize definitively. Nevertheless, the director has remained committed to exploring the nuances of posthumor, a concept that continues to evolve alongside shifting audience expectations and cultural dynamics. As Gente en Sitios gains traction in theaters and online platforms, it is clear that Cavestany’s vision of comedy, one rooted in failure, confusion, and the unexpected, has resonated with certain segments of the public. Whether this signals a lasting trend or a passing phase remains to be seen, but one thing is certain: the film has reignited conversations about the future of humor in Spanish cinema.