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But Alazraki recognises that the wrapping is just as important as what’s inside and he brings a Nancy Meyers-adjacent level of opulence with an evocative jazzy score, an extravagant use of Miami locations and the requisite amount of food and house porn (a faux one-take sequence of last-minute wedding prep is one of the most delightful things I’ve seen all year). The much-buzzed about return of romcoms has, for me, offered very little joy and has been mostly done on a tight budget with very little artistry. But the pleasure of a film such as this, and the films it competently recalls, is less in what’s being told and more in how it’s being told and Alazraki, with his biggest film to date, proves to be a dab hand at crafting the kind of high-gloss studio picture we don’t see that much any more. Before they can, they’re surprised by some even bigger news, Sofia is getting married and intends to do so in just four weeks.Įven if one hadn’t seen either of the two prior versions, where the story then goes – from falling out to making up to monologuing about falling out and then making up – will offer few surprises. But decades in, their marriage has soured and when their daughter Sofia (Morbius star Adria Arjona) comes home from law school, they decide to reveal their divorce to the family. El Padre de la Novia as it’s also known centres on Billy (Andy Garcia), an exile who worked his way up from nothing to become a successful architect in Miami with his devoted wife Ingrid (an extremely rare acting role for Gloria Estefan) at his side. Together with screenwriter Matt Lopez, he’s shifted the traditionally Wasp-y tale into more diverse, and dramatically interesting, territory with a Cuban-American family at its centre. It’s such a familiar set-up that our minds instantly go to sitcom territory – dad with wagging finger, daughter with hands on hips – and so to its credit, Mexican director Gary Alazraki’s straight-to-streaming redo manages to feel bigger than that, not just because it looks like a splashy theatrical release but because in dragging the oft-told story into the 2020s, he finds a way to make it feel specific and culturally expansive.