I’m a good person (2023) by Norberto Ramos del Val

Blending absurd comedy, social satire, and independent filmmaking sensibilities, Soy una buena persona (I’m a Good Person) explores the frustrations of an overeducated generation trapped between artistic ambition and economic insecurity. Set against the backdrop of a struggling Madrid, the film examines what happens when opportunity finally appears—but arrives through deeply questionable circumstances.

Directed by Norberto Ramos del Val and written by Pablo Vázquez, Soy una buena persona follows Sabina, a woman in her thirties who still lives with her parents while dreaming of becoming a successful designer, actress, screenwriter, or filmmaker. Like many members of her generation, she struggles to establish financial independence in a city marked by economic uncertainty and shrinking opportunities. When an unexpected event presents what appears to be the chance of a lifetime, Sabina seizes it without fully considering the ethical consequences, setting off a chain of increasingly absurd and morally ambiguous situations.

Rather than presenting a conventional comedy about personal success, the film satirizes the pressures facing young creative professionals in contemporary Spain. Through Sabina’s misguided optimism and questionable decisions, Norberto Ramos del Val critiques precarious employment, delayed adulthood, artistic frustration, and the desperate pursuit of recognition in a society where success often feels determined by luck rather than talent. Led by Alba Fontecha, alongside Juan Carlos Martín and Isabel Guardiola, the film combines offbeat humor with social commentary, creating a portrait of a generation caught between dreams, disappointment, and survival.

➡️ Implication: Soy una buena persona reflects the growing popularity of European independent comedies that use satire to examine economic uncertainty, creative ambition, and the ethical compromises people make while searching for opportunity.

Although Soy una buena persona revolves around Sabina’s unexpected chance to change her life, its deeper story examines the gap between personal ambition and social reality. Sabina firmly believes she is destined for artistic success, yet her everyday life reflects the frustrations of an entire generation struggling with unstable employment, delayed independence, and diminishing economic prospects. Her questionable choices become less about individual morality than about a society in which success often appears accidental, unequal, and increasingly difficult to achieve honestly.

The film also explores self-perception through irony. Despite the title I’m a Good Person, Sabina repeatedly justifies ethically dubious decisions by convincing herself that her intentions remain pure. This contradiction becomes the film’s central satirical device, inviting audiences to question how easily people rationalize their behavior when faced with desperation, ambition, or the promise of a better future. Rather than offering simple moral lessons, Norberto Ramos del Val presents a flawed protagonist whose contradictions mirror the uncertainties of contemporary adulthood.

➡️ Implication: Soy una buena persona uses dark humor to explore how economic insecurity and frustrated ambition can gradually blur the boundaries between personal integrity, survival, and self-justification.

One of the film’s greatest strengths is its willingness to embrace uncomfortable comedy. Rather than relying on conventional jokes, Soy una buena persona builds humor from awkward situations, social contradictions, and the absurd logic through which Sabina attempts to justify increasingly questionable choices. This understated comedic style allows the film to examine serious issues—including unemployment, creative frustration, and generational stagnation—without losing its playful independent spirit.

The film also offers an affectionate portrait of Madrid beyond its tourist image. Through everyday neighborhoods, unfinished construction sites, struggling artists, and ordinary family life, Norberto Ramos del Val presents a city reflecting both economic hardship and creative resilience. Combined with Alba Fontecha’s committed performance as Sabina, the result is an intimate independent comedy that captures the uncertainty, humor, and contradictions of adulthood in contemporary Spain.

➡️ Implication: Soy una buena persona demonstrates how low-budget independent cinema can transform everyday social realities into insightful satire, using humor to expose the hopes, frustrations, and moral compromises of a generation still searching for its place.

• Fans of Spanish independent cinema, particularly films that blend dark comedy with social commentary about contemporary life.

• Viewers who appreciate character-driven satires, where flawed protagonists and morally ambiguous decisions create both humor and reflection.

• Audiences interested in stories about struggling artists and millennials, exploring unemployment, delayed adulthood, and the pursuit of creative success.

• Fans of absurd, low-budget indie filmmaking, who enjoy unconventional humor, eccentric supporting characters, and socially observant storytelling.

• Audiences looking for broad mainstream humor, as the comedy relies on irony, awkward situations, and understated satire rather than fast-paced jokes.

• Viewers seeking a clear moral hero, since Sabina is intentionally flawed and often makes ethically questionable decisions.

• Fans of polished commercial productions, because the film embraces the raw aesthetic and narrative freedom of independent low-budget filmmaking.

• Those expecting an uplifting success story, as the film focuses more on personal contradictions and social frustration than inspirational transformation.

➡️ Implication: Soy una buena persona is best suited for viewers who enjoy intelligent European comedies that use humor to examine social inequality, creative ambition, and the complicated ethics of survival.

Soy una buena persona has attracted attention within Spain’s independent film scene for its satirical portrayal of a generation caught between artistic ambition and economic instability. Rather than romanticizing the life of a struggling artist, Norberto Ramos del Val presents an uncomfortable but often humorous portrait of millennials facing unemployment, delayed independence, and diminishing opportunities while desperately trying to reinvent themselves. Its story resonates with audiences who recognize the pressures facing creative professionals in today’s uncertain economy.

The film has also generated discussion because of its unconventional protagonist. Sabina is neither a traditional heroine nor an outright antihero; instead, she constantly convinces herself that questionable decisions are justified if they finally allow her to achieve the success she believes she deserves. This moral ambiguity, combined with the film’s ironic title, creates a satirical exploration of self-delusion that distinguishes it from more conventional Spanish comedies. While audience reactions have been mixed, many viewers have appreciated its originality, independent spirit, and willingness to tackle difficult social realities through absurd humor.

➡️ Implication: Soy una buena persona reflects a broader movement in European independent cinema toward socially conscious comedies that explore economic uncertainty, creative frustration, and the ethical compromises emerging from contemporary urban life.

Soy una buena persona has generated mixed audience reactions, reflecting its unconventional style and darkly satirical approach. Some viewers have praised the film for its originality, offbeat humor, and willingness to portray an unlikeable yet recognizable protagonist struggling with the frustrations of modern adulthood. Rather than presenting a polished or idealized heroine, Sabina embodies the contradictions of a generation navigating unstable careers, delayed independence, and unrealistic expectations, making her both frustrating and surprisingly relatable.

Other audience members have particularly enjoyed the film’s independent sensibility and playful satire of Spain’s artistic community. Its low-budget aesthetic, eccentric supporting characters, and ironic observations about creative ambition have resonated with viewers who appreciate European indie cinema. While its IMDb rating of 5.2/10 suggests that the film may not appeal to everyone, supporters have praised its fresh perspective and willingness to embrace uncomfortable humor instead of following mainstream comedic formulas.

Critical responses have acknowledged Norberto Ramos del Val’s ambition to use comedy as a vehicle for examining economic insecurity, creative frustration, and the struggles facing young adults in contemporary Spain. Many reviewers appreciated the film’s attempt to satirize a generation trapped between artistic aspirations and financial dependence, highlighting its portrait of Madrid as a city marked by uncertainty, stalled opportunities, and social contradictions.

However, critics have been more divided regarding the film’s execution. Some felt the screenplay relied too heavily on familiar stereotypes and uneven pacing, while others argued that the narrative occasionally sacrificed emotional depth for absurd situations. Despite these reservations, reviewers generally agreed that the film possesses an authentic independent spirit and offers an interesting commentary on Spain’s creative generation, particularly through Alba Fontecha’s committed central performance and its sharp observations about artistic ambition.

➡️ Implication: Soy una buena persona demonstrates how independent European comedies often generate polarized reactions by prioritizing original ideas and social satire over conventional storytelling, appealing most strongly to audiences seeking unconventional character studies.

Unlike many Spanish independent films that build their reputation through major international festivals, Soy una buena persona has primarily attracted attention through its distinctive premise, independent production model, and the growing body of work created by Norberto Ramos del Val. Although the film has not received major awards recognition, it represents another chapter in the director’s long-running commitment to producing low-budget, auteur-driven Spanish cinema outside the mainstream industry.

Produced by Norberfilms with an estimated budget of approximately €100,000, the film exemplifies the creative flexibility of Spain’s independent filmmaking scene. Rather than relying on significant financial resources or institutional backing, Norberto Ramos del Val continues developing original projects that combine dark humor, social commentary, and unconventional storytelling. While Soy una buena persona has achieved modest visibility compared with larger Spanish productions, it contributes to the growing landscape of independent European cinema where personal artistic vision often takes precedence over commercial expectations.

➡️ Implication: Although Soy una buena persona is not defined by awards success, it highlights the importance of independent filmmaking as a space where directors can explore contemporary social issues with originality, creative freedom, and a distinctive personal voice.

Soy una buena persona (2023), directed by Norberto Ramos del Val, reflects a growing trend in contemporary European independent cinema where comedy becomes a vehicle for exploring the financial and emotional realities facing younger generations. Rather than presenting carefree romantic comedies, filmmakers increasingly focus on protagonists navigating unstable careers, delayed adulthood, housing insecurity, and creative ambition. Through irony and dark humor, Soy una buena persona captures the frustrations of millennials who continue chasing success despite increasingly uncertain economic conditions.

The film also illustrates the rise of morally ambiguous protagonists in modern comedy. Instead of traditional underdogs who simply overcome obstacles through perseverance, today’s independent comedies often feature deeply flawed characters whose questionable decisions expose broader social problems. Sabina’s self-delusion and ethical compromises are less about individual failure than about a society where opportunity feels increasingly scarce. By allowing audiences to laugh at uncomfortable truths, the film reflects a wider movement toward socially conscious satire that questions contemporary definitions of success, ambition, and personal responsibility.

➡️ Implication: Soy una buena persona demonstrates how independent European comedy is evolving into a powerful form of social commentary, using flawed characters and dark humor to examine the economic uncertainty shaping an entire generation.

Soy una buena persona is important because it captures the emotional reality of many young adults whose ambitions have been repeatedly delayed by economic instability. Sabina is not simply an unsuccessful artist—she represents a generation that has followed conventional expectations of education and creativity only to discover that financial independence and professional recognition remain frustratingly out of reach. Her increasingly irrational decisions expose the psychological consequences of prolonged uncertainty and the temptation to believe that one lucky break can solve every problem.

The film is equally significant because it continues Spain’s long tradition of socially observant comedy. Rather than delivering direct political criticism, Norberto Ramos del Val uses irony, awkward humor, and exaggerated situations to explore unemployment, artistic insecurity, and the contradictions of modern urban life. By focusing on ordinary people instead of extraordinary circumstances, the film creates a recognizable portrait of contemporary Spain while asking broader questions about ambition, morality, and survival in an increasingly competitive society.

➡️ Implication: Soy una buena persona shows how independent satire can transform everyday economic frustrations into thoughtful social commentary, offering audiences both laughter and reflection.

Soy una buena persona demonstrates that independent filmmakers do not need large budgets to explore relevant contemporary themes. Strong writing, relatable characters, and sharp social observation allow modest productions to engage audiences with meaningful ideas.

Rather than presenting inspirational protagonists, the film embraces morally imperfect individuals whose contradictions reflect real life. This growing preference for complex antiheroes allows comedy to become more psychologically and socially nuanced.

Viewers increasingly seek comedies that do more than entertain. By combining humor with commentary on employment, housing, creative careers, and generational frustration, films like Soy una buena persona invite audiences to laugh while recognizing their own experiences.

Although deeply rooted in contemporary Madrid, the film addresses challenges shared by young adults across Europe and beyond. Its themes of precarious employment, delayed independence, and creative uncertainty resonate internationally, demonstrating how local stories can speak to global audiences.

➡️ Implication: Soy una buena persona confirms that independent European cinema continues using comedy as a meaningful tool for examining modern social realities, proving that intimate, locally grounded stories can offer universally relevant insights into contemporary life.

Soy una buena persona (2023), directed by Norberto Ramos del Val, points toward a future in which independent European filmmakers increasingly use comedy to examine the realities of modern adulthood. As housing costs rise, creative careers become more precarious, and financial independence is delayed for many young adults, stories like Sabina’s are becoming increasingly relevant. Rather than relying on escapism, independent comedies are embracing social realism, exposing uncomfortable truths through irony, flawed characters, and absurd situations that reflect everyday life.

The film also highlights the continuing importance of low-budget auteur filmmaking within European cinema. Directors such as Norberto Ramos del Val demonstrate that modest productions can remain artistically distinctive by focusing on original ideas, recognizable social experiences, and authentic local settings instead of expensive spectacle. As digital production and alternative distribution continue lowering barriers to filmmaking, audiences can expect more independent voices exploring contemporary issues with humor, creativity, and personal perspective.

➡️ Implication: Soy una buena persona suggests that the future of European independent comedy lies in stories that transform everyday economic frustrations into thoughtful, character-driven social satire.

Soy una buena persona (2023), directed by Norberto Ramos del Val, is an unconventional Spanish independent comedy that combines dark humor, social observation, and moral ambiguity to portray a generation struggling to find stability in an increasingly uncertain world. Through Alba Fontecha’s committed performance as Sabina, the film explores ambition, self-deception, and the temptation to justify questionable decisions when success feels permanently out of reach. While its deliberately awkward humor and low-budget style may divide audiences, they also give the film a distinctive personality rarely found in more conventional comedies.

More than a story about one aspiring artist, Soy una buena persona examines how prolonged economic insecurity reshapes people’s expectations, ethics, and identities. By balancing absurd situations with recognizable social realities, the film offers an insightful portrait of contemporary Spain while contributing to the growing wave of European independent cinema that uses comedy as a form of cultural reflection rather than simple entertainment.

➡️ Key Takeaway: Soy una buena persona proves that independent comedy can expose uncomfortable social realities while remaining witty, original, and deeply human.

In Soy una buena persona (2023), directed by Norberto Ramos del Val, Sabina is a thirty-something aspiring artist still living with her parents while dreaming of creative success in a Madrid shaped by economic uncertainty. Convinced that she is destined for a better life, she unexpectedly encounters an opportunity that promises to transform her future—but only if she is willing to ignore her conscience. As increasingly absurd situations unfold, the film becomes a darkly comic exploration of ambition, morality, and the desperate search for recognition in a society where success often appears frustratingly elusive.

➡️ Key Takeaway: Soy una buena persona transforms one woman’s pursuit of success into a witty and ironic reflection on the compromises people make when ambition collides with economic reality.

• Pepi, Luci, Bom (1980) — Directed by Pedro Almodóvar. A provocative early Spanish comedy that similarly blends absurd humor with social satire.

• Women on the Verge of a Nervous Breakdown (1988) — Directed by Pedro Almodóvar. A classic Spanish comedy about emotional chaos, eccentric characters, and urban life.

• The Square (2017) — Directed by Ruben Östlund. A sharp European satire examining morality, privilege, and contemporary society.

• Force Majeure (2014) — Directed by Ruben Östlund. A dark comedy exploring human behavior, self-image, and uncomfortable truths.

• The Worst Person in the World (2021) — Directed by Joachim Trier. A bittersweet portrait of millennial uncertainty, personal ambition, and adulthood.

The film premiered in Spain on March 24, 2023. Produced by Norberfilms, it was released as an independent Spanish production, primarily targeting domestic audiences and fans of auteur-driven low-budget cinema.

Unlike many Spanish independent productions, Soy una buena persona was released primarily through independent theatrical and local exhibition channels rather than building its reputation on a major international festival run. Its visibility has largely come through director Norberto Ramos del Val’s established following within Spain’s independent filmmaking community.

Soy una buena persona is highly recommended for viewers who enjoy quirky European independent comedies, dark social satire, and character-driven stories about flawed but fascinating protagonists. Fans of The Worst Person in the World, early Pedro Almodóvar comedies, or the satirical films of Ruben Östlund will appreciate its ironic humor, low-budget authenticity, and thoughtful exploration of ambition, economic insecurity, and the moral compromises that emerge when opportunity seems painfully out of reach.