Cannes
CANNES 2014. LA CHAMBRE BLEUE BY MATHIEU AMALRIC
By Mónica Delgado A film of stylized suspense, about the search of clues and the resolution of a crime, based in a Georges Simenon novel,
2014.05.16
Staff
Cannes
CANNES 2014. LA CHAMBRE BLEUE DE MATHIEU AMALRIC
Por Mónica Delgado
Una película de suspenso estilizado, sobre búsqueda de pistas y resolución de un crimen, basada en una novela de Georges Simenon, es la propuesta que eligió Mathieu Amalric para volver a la dirección luego de cuatro años.
2014.05.16
Cannes
CANNES 2014. RELATOS SALVAJES BY DAMIÁN SZIFRÓN
By Mónica Delgado
Argentinian filmmaker Damián Szifrón’s Relatos Salvajes breaks with the festival film prototype designed especially for Cannes, or in other case, proposes a new route: that of black b series humour, as if it were a tape of eighties’ spirited episodes, but with a social critique intention and mockery in an actual national key.
2014.05.16
Cannes
CANNES 2014: PARTY GIRL BY MARIE AMACHOUKELI, CLAIRE BURGER AND SAMUEL THEIS
By Mónica Delgado
Three debutant filmmakers come together to extend the life on the big screen of Angélique Litzenburger, a 60 year old ex-nightclub dancer, who finds herself in the dilemma of keeping a lifestyle or changing it for a marriage proposal from one of her clients. Party Girl sets all its dramatic weight in the especial figure of Angélique, a real John-Wateresque character, that assumes in fiction a re-representation of herself, and to spread a little of that fresh and jolly way of her nocturne rutine.
2014.05.16
Cannes
CANNES 2014: WINTER SLEEP DE NURI BILGE CEYLAN
Por Mónica Delgado
Winter Sleep está plagada de ese invento bergmaniano llamado “hora del lobo”. Como si las conversaciones a media luz implicarán siempre una renuncia y revelaciones decisivas, la caída de las máscaras que invitan al encierro o al cambio en los personajes.
2014.05.16
Cannes
CANNES 2014. RELATOS SALVAJES DE DAMIÁN SZIFRÓN
Por Mónica Delgado
Relatos salvajes, del argentino Damián Szifrón, rompe con el prototipo del filme festivalero hecho para Cannes, o en todo caso, propone una nueva ruta: el del humor negro en clave serie B, como si se tratara de una cinta de episodios con espíritu de los ochenta, pero con intención de crítica social y mofa en clave nacional actual.
2014.05.16
Cannes
CANNES 2014. DARKER THAN MIDNIGHT BY SEBASTIANO RISO
By Mónica Delgado
We’re in the eighties, and the film opening talks about a pubescent kid, of red curls that seems very much like Tadzio of Visconti’s Death on Venice, and who appears singing under the influence of his inspiration figures: David Bowie, Lou Reed and other icons of rock in posters glued to the wall of his secret corner.
2014.05.15
Cannes
CANNES 2014. DARKER THAN MIDNIGHT DE SEBASTIANO RISO
Por Mónica Delgado
Estamos en los ochenta, y el opening de la película nos habla de un púber, de rizos pelirrojos que se parece al Tadrío de Muerte en Venecia de Visconti, y que aparece cantando bajo el influjo de sus inspiradores: David Bowie, Lou Reed y una decena de iconos del rock en afiches pegados en la pared de su rincón secreto.
2014.05.15
Cannes
CANNES 2014. THAT LOVELY GIRL BY KEREN YEDAYA
By Mónica Delgado
Israeli filmmaker Keren Yedaka returns to Cannes, but this time in the Un Certain Regard section, with a dry drama about an incestuous relationship between father and daughter in Tel Aviv.
2014.05.15
Cannes
CANNES 2014: TIMBUKTU BY ABDERAHMNE SISSAKO
By Mónica Delgado
Getting away somewhat from the slope of African cinema in the style of Ousmane Sembene, appealing less to the ritual matter or social aspect between hierarchies in a same community, Timbuktu explores the invasion of the Islamic police in a little town of the deserts of Mauritania, in an abrupt cultural and moral clash that is narrated with a keen and denouncing eye.
2014.05.15