By Mónica Delgado
The border between Bulgaria and Greece serves as scenario of an intense drama, something which comes as different from Valeska Grisebach’s measured style. A German worker and his confrontation and latter acceptance from a rural community due to the language and local customs, that’s the argument of this Austrian film that opened with big expectations in the Un Certain Regard section at Cannes.
Por Mónica Delgado
Si en Salvo, Grassadonia y Piazza retoman algunos tópicos del cine de mafias o la Cosa Nostra para ponerlos en clave oscura, como si se tratara de un film noir sofisticado en su austeridad, en Sicilian Ghost Story se inspiran en la misma problemática pero esta vez desde el ángulo fantástico y del Coming-of-age.
Por Mónica Delgado
La zona de frontera entre Bulgaria y Grecia es el escenario para un drama intenso que contrasta con el estilo mesurado que Valeska Grisebach. Un trabajador alemán y su confrontación y discreta aceptación en una comunidad rural debido al idioma y las costumbres e identidades locales es el argumento central de este film austriaco que abrió con bastante expectativa la sección Un Certain Regard en esta edición de Cannes.
By Mónica Delgado
Un Beau Soleil Intérieur seems to be a fragile, even superficial film, however Denis towers above that and achieves a sublime work about a drifting woman, with a brilliant and unique performance by Juliette Binoche, a sort of reverse Bettie Blue, twenty years after.
By Mónica Delgado
As in his previous Works, Andrei Zvyagintsev proposes a new moral allegory to speak about the social crisis in current Russia, but this time, he does so from the devastated core of a middle class home going through a divorce process. If in Leviathan the fight against corruption was impeded of being banished because of the different criteria of the Orthodox Church in a small conservative town, or, if in Elena, a mother offered herself in sacrifice to protect his alcoholic son in a vicious circle of money and other transactions, in Loveless Zvyagintsev chooses a child as an expiatory goat of a society in decadence, reflected here in the institution of family, broken and enemy of solidarity and emotion.
Por Mónica Delgado
Un beau soleil intérieur debe ser la primera comedia de Claire Denis, o al menos un film con toques de humor inéditos en su filmografía. Se trata del retrato de una artista madura, una pintora encarnada por Juliette Binoche, que ante la desesperación de quedarse sola en el amor, cae en diversas relaciones amorosas singulares y con una característica en común: hombres histéricos.
Por Mónica Delgado
Y hoy se proyectó el primer film de la competencia de la selección oficial y hay sentimientos encontrados. Extraordinaria dirección pero una mirada que conflictúa en su moralidad (purista) sobre la crisis en el país de Putin. Como en sus anteriores trabajos, Andrei Zvyagintsev propone una nueva alegoría moral para hablar de la crisis social en la Rusia actual, pero esta vez desde el núcleo devastado de un hogar de clase media en pleno proceso de divorcio.
By Mónica Delgado
Opening Cannes with an Arnaud Desplechin film was an outstanding debt, especially because two years ago, his film Trois souveniers de ma jeunesse was presented in the Quinzaine of Realisateurs and ignored by the official selection, an act which was seen as a disservice to one of the most ludic and talented filmmakers of France.
Por Mónica Delgado
Con Les Fantômes d’Ismael, Desplechin entrega un film a la medida de la apertura del festival más importante del mundo, sin caer en un statement por lo social, lo políticamente correcto o lo hollywoodense, como ha sucedido años atrás.
By Karla Loncar
David Lynch has been particularly responsible for the lasting allure of the show. In other words, the series would be inconceivable without the content-based and formal characteristics typical of Lynch’s films: his love for the contrast between the eerie and the comical, light and dark, popular and exquisite; the preoccupation with the motif of evil (in a seemingly idyllic American small town); the fascination with the subconscious turmoil of characters; the richness of varying, often disturbing, sounds; and modern methods of filmmaking, particularly visible in the series’ pilot and the individual episodes directed by Lynch himself.
Director: Mónica Delgado Ch.
ISSN 2311-7451
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