Family dramas often mirror the complexities of real life, but one film has boldly declared that 'violence can be everywhere'—and it’s shaking audiences to their core. The Good Daughter, a gripping Spanish drama directed by Júlia de Paz Solvas, recently swept the 29th Tallinn Black Nights Film Festival in Estonia, claiming the prestigious Grand Prix, the Audience Award, and Best Actress honors for its 17-year-old star, Kiara Arancibia. This marks Arancibia’s acting debut, and her layered, restrained performance has already earned her rave reviews. But here’s where it gets controversial: the film doesn’t just depict physical violence—it dives deep into the psychological and emotional scars left on children caught in the crossfire of divorce and family conflict. Is society truly listening to these silent victims?
Adapted from Solvas’s 2021 short film Harta, The Good Daughter follows teenage Carmela, whose father is under a restraining order for violence against her mother. Despite this, Carmela adores her father, and their supervised meetings reveal a complex web of emotions. The divorce forces her into an impossible position: torn between loyalty and self-preservation. And this is the part most people miss: the film argues that violence isn’t always visible—it can lurk in the shadows of everyday interactions, in the unspoken tensions that shape a child’s world. Solvas explains, ‘For us, it was important to show that violence has more layers than we understand. Psychological violence is just as damaging, and it’s often invisible.’
Shot near Barcelona, the film features a stellar cast, including Janet Novas, Petra Martínez, and Julián Villagrán, who previously won accolades for his role in the short. Arancibia credits actress Tamara Casellas for helping her channel her emotions, saying, ‘She taught me to move my emotions from my belly to my eyes.’ This emotional restraint is a hallmark of Solvas’s directing style, making the rare moments of outburst feel even more powerful.
One of the most technically challenging scenes involved a swimming pool sequence, while Arancibia highlights a forest scene between Carmela and her mother as a ‘physical dance of bodies,’ where anger is expressed through movement rather than words. But how does a young actress navigate such intense emotional territory? Arancibia reveals, ‘Carmela is one thing, and Kiara is another. I had to remind myself this wasn’t happening to me.’*
The film’s title itself is a point of intrigue. Originally called Harta (Fed Up), the team decided to evolve the narrative for the feature. Co-writer Núria Dunjó explains, ‘The short film was about anger, but this is bigger. It’s about multiple emotions and layers, not just within the family but in other worlds too.’ The title The Good Daughter carries a double meaning: Carmela’s desperate attempt to please both parents, and the societal expectation placed on children in such situations.
As Solvas and Dunjó develop their next project, they emphasize their focus on character-driven storytelling and experimenting with new cinematic techniques. Meanwhile, Arancibia is eyeing a future in screenwriting, proving that her talents extend beyond acting. But the question remains: Are we truly addressing the invisible violence that shapes so many lives? The Good Daughter doesn’t just ask—it demands an answer. What’s your take? Does the film’s portrayal of psychological violence resonate with you, or does it miss the mark? Let’s discuss in the comments!
