Días de otoño was the last in a trilogy of films—that includes Macario (1960) and Rosa Blanca (1961-72)—adapted by Gavaldón from the works of Bruno Traven. Based on Traven’s short story “Frustration,” this unsettling drama stars Pina Pellicer as Luisa, a provincial young woman newly arrived in Mexico City who finds a job as a cake decorator. For the dreamy Luisa, it proves an appropriate line of work as she comes to display a remarkable talent for embellishing the truth, as well. When her new boss, Albino, begins making advances, Luisa’s fantastic imagination takes flight. She invents a boyfriend, an impending marriage and even a false pregnancy. It’s a fragile world of delusions that ever-threatens to come crashing down around her as Gavaldón exposes the surface appearances that govern even the most intimate of relationships in Mexico’s developing urban middle-class. –UCLA Film Archive
Roberto Gavaldón (born June 7, 1909 in Jiménez, Chihuahua — died September 4, 1986 in Mexico City) was a Mexican film director. Eight of Gavaldón’s films were featured on the list 100 best movies of the cinema of Mexico. His 1958 film Ash Wednesday was entered into the 8th Berlin International Film Festival and his 1959 film Beyond All Limits was entered into the following years festival. His 1960 film Macario was nominated for an Academy Award for Best Foreign Language Film, but did not win. —Wikipedia
Gavaldón dirigió muy bien el juego de la mente locochona de Rosa Blanca pero no fue suficiente para que en general no se sintiera pesada la película. Se pasa hora y media haciendo sentir pena ajena al espectador para que al final la catarsis dure 5 minutos y ni se sienta bien recibida.
Desgarradora soledad… Exquisito thriller/drama psicológico merecedor de cualquier calificativo Hitchcokiano, el cual engaña con su laberinto entre imaginación y realidad.
Apoyado en un guion de Julio Alejandro y Emilio Carballido (basados a su vez en una historia de Bruno Traven) esta cinta quizas sea la obra maestra de Roberto Gavaldòn. Tan conmovedora como inquietante, la pelicula se destaca por la solida y vulnerable presencia de Pina Pellicer, joven y prometedora actriz mexicana de los años 60, quien se suicidò poco tiempo despues de finalizado el rodaje del film.