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Cannes

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Cannes

CANNES 2019: THE LIGHTHOUSE BY ROBERT EGGERS

By Mónica Delgado

What a better figure that the one of an imposing lighthouse to inquire about masculine fears? If in The Witch (2015), American filmmaker Robert Eggers explores the fears of trickeries and religious precepts in a community of New England in the seventeenth century, in The Lighthouse (2019), he stops in two solitary characters trapped in an island at the end of the nineteenth century, who survive among hallucinations, the effects of alcohol and the majesty of a lighthouse (the father, the libido or the symbolic power) which rules it all.

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Cannes

CANNES 2019: ONCE UPON A TIME…IN HOLLYWOOD BY QUENTIN TARANTINO

By Mónica Delgado

Tarantino’s request of “no spoilers” for his film, made for the general audience, critics and journalists around the world, has little to do with revealing plots, or some turn of the screw that could’ve ruined the tension of the spectator. Quentin’s request has to do with another aspect of the film, which lies in its core itself. When Once upon a time… in Hollywood ends, one has the impression of having assisted to an exemplary act which shows the capacity of cinema of transforming reality, of proposing an exit and creating an evasion, maybe even accomplishing a dream. What Tarantino did in this film is closer to the highest degree of sublimation of cinema. The filmmaker of Reservoir dogs and Death proof has materialized that which cinema can achieve to mean for several people: a way of salvation.

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Cannes

CANNES 2019: PARASITE BY BOON JOON-HO

By Mónica Delgado

For the very first time in the history of Cannes, a South Korean film wins the Golden Palm. The merit of this is indisputable, since this is one of the best films in Bong Joon-ho career (maybe only comparable to the feat of Memories of Murder, in 2003), a bittersweet comedy that stablishes him as a filmmaker who still delivers creativity to any genre he chooses to do (drama, thriller, monster movie or science fiction).

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Cannes

CANNES 2019: SICK, SICK, SICK DE ALICE FURTADO

Por Mónica Delgado

En esta edición de Cannes bromeamos muchas veces entre críticos y periodistas sobre el motivo zombi que se había apoderado, sin querer, de las pantallas este año: la inauguración con el film de Jarmusch, la película de Bertrand Bonello en la Quincena de Realizadores o los entes adormecidos de la ópera prima de Mati Diop. Y Sick, sick, sick (Sem Sue Sengue) de la brasileña Alice Furtado, sigue esta vía.

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Cannes

CANNES 2019: ALMODÓVAR, IRA SACHS, BELLOCCHIO

By Mónica Delgado

It isn’t accidental that the three films I’m stopping in this article have as its greatest attraction the performance of experienced actors in important histrionic challenges, beyond the plot or stylistic proposals of the filmmakers they are serving. Ira Sachs’ Frankie, Pedro Almodóvar Pain and Glory or the vibrant Il Traditore by Marco Bellocchio, get a great part of its value through the remarkable performances of their lead characters, but fall flat in other elements.

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Cannes

CANNES 2019: MEKTOUB, MY LOVE: INTERMEZZO BY ABDELLATIF KECHICHE

By Mónica Delgado

En the middle of the 21st century, a cunnilingus scene can make a festival tremble. Shots of oral sex to a woman in twelve minutes can completely defenestrate a film, written off, since it’s “repelling”, it isn’t erotic, it isn’t a driving symbol. Beyond the excessive and unnecessary shots of behinds, in Mektoub, my love: Intermezzo, Kechiche doesn’t set any limits and leaves his eye be in free will, hunting for that creation of the subconscious male gaze, in a physical film of sun and neon lights.

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Cannes

CANNES 2019: MEKTOUB, MY LOVE: INTERMEZZO DE ABDELLATIF KECHICHE

Por Mónica Delgado

En pleno siglo XXI, la escena de un cunnilingus puede hacer temblar a un festival. Planos de sexo oral a una mujer  en doce minutos puede lograr que un film sea defenestrado, dado de baja, porque genera repelencia, no es erótico, no es símbolo pulsional. Más allá de los excesivos e innecesarios plano de traseros, en Mektoub, my love: Intermezzo, Kechiche no se pone límites y deja al libre albedrío su ojo voyeur, a la caza de crear conscientemente el “male gaze” por antonomasia, en un film físico de sol y luces de néon.

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Cannes

CANNES 2019: ONCE UPON A TIME…IN HOLLYWOOD DE QUENTIN TARANTINO

Por Mónica Delgado

El pedido de Quentin Tarantino de no “spoilear” el film, tanto para el público en general que asistió a las galas, como para los críticos y periodistas de todo el mundo en las funciones de prensa, tiene poco que ver con revelar plots, tramas o alguna vuelta de tuerca que pueda estropear la tensión del espectador. El pedido de Quentin tiene que ver con otro aspecto del film, y que en realidad es su médula misma.

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Cannes

CANNES 2019: ALMODÓVAR, IRA SACHS, BELLOCCHIO

Por Mónica Delgado

No es casual que los tres films en los cuales me detengo en este artículo tengan como mayor atracción la actuación de actores de trayectoria, en retos histriónicos importantes, más allá de las propuestas argumentales o estilísticas que proponen sus directores. Frankie de Ira Sach, Dolor y Gloria de Pedro Almódovar o la vibrante Il Traditore de Marco Bellocchio sostienen en gran parte de su valor debido a las actuaciones notables de sus protagonistas, pero que decaen en algunos otros elementos del film.

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Cannes

CANNES 2019: NUESTRAS MADRES DE CÉSAR DIAZ

Por Aldo Padilla

El film ganador de la Semana de la Critica y la Cámara de Oro de este año en Cannes repasa el complejo revisionismo de la larga guerra civil guatemalteca, a través de los ojos de una nueva generación que busca respuestas a un conflicto que definió la vida de sus antecesores.

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