| Native Name: |
| ||
| Director: | Enrique García | ||
| Producer: | Ana Figueroa | ||
| Screenplay: | Enrique García Isa Sánchez | ||
| Music: | Fernando Velázquez | ||
| Cinematography: | Alberto D.Centeno | ||
| Editing: | Miguel Doblado | ||
| Distributor: | Cada Films | ||
| Runtime: | 98 minutes | ||
| Country: | Spain | ||
| Language: | Spanish |
321 Days in Michigan (Spanish; Castilian: '''321 días en Míchigan'''|links=no) is a 2014 Spanish tragicomedy prison film directed by Enrique García, winner of best director in a debut film at the Premios Asecan del Cine Andaluz. It won the Audience Award at the 17th Málaga Film Festival.[1]
Filmed at the former provincial jail of Málaga, it is the story of Antonio Chico García, a young and successful executive, condemned to go to prison because of white collar crimes. In order to hide this fact, he pretends he is spending time at the University of Michigan working on a master's degree. His girlfriend Lola agrees to help him by uploading pictures to a blog about his fictional life there. The film deals with his life in prison and his relationships with fellow inmates.[2]
The films is a Lanube Películas and Encanta Films production. It was shot in Málaga featuring a cast primarily consisting of actors from Málaga.
The film premiered at the 17th Málaga Film Festival in March 2014.[3] Distributed by Cada Films,[4] it opened in Spanish theatres on 31 October 2014, the same day as its scheduled television premiere on Canal Plus.[5]
Despite the omnipresence of Antonio throughout the film, some critics consider that this is really the story of Sara, (Virginia De Morata). The Videodromo film critic Aitziber Saldias states "...this is Sara's film, Sara's story. She catches all the attention by just moving in the background..."[6] De Morata won best supporting actress (Premios Asecan).
In his review for El Mundo, Cristóbal C. Monilla notes that prison is seen as a place where people are more "burdened by their internal condemnation dictated by life itself than by the physical confinement behind bars."[7]
The Fotogramas critic, Mirito Torreiro, considers that "its authenticy, dynamism, the humanity that comes from its actors." constitutes the film best qualities. "So much so as to [make us] forgive its faults..."[8]