Reviews

Everything in "Drive" is very interesting, from the disturbing gaps proposed by the script, its soundtrack full of synthesizers with descriptive messages of the characters, the neo-noir style (neon) adopted by photography and the impeccable frames that refer to the Tarantino style.

"Drive" is a script adapted by Hossein Amini, inspired by the books of the series "Diver" of the American writer James Sallis, having been directed in 2011 by the Danish Nicolas Winding Refn. A curiosity is that Ryan Gosling, protagonist of the film, indicated the director for the studios of FilmDistrict.

In "Driver" Ryan Gosling lives the unnamed protagonist, who is not mentioned or named at any time in the film, this already punctuates the mysterious characteristic of the character, who has nocturnal habits and sometimes makes vigilante figure of the streets of the city of Los Angels, who he knows very well, so well, that the film starts with Ryan making clear his skill as a connoisseur of the streets and of a driver, and that he comes down to that moment, the service for which he is being hired or to come After that service does not interest you. All this initial speech of the protagonist is captured in asymmetrical cuts of a window, with a play of shadow and light characteristic of the film noir and that collaborate for the construction of a prologue that presents a situation, does not explain anything, what the public can count It is with that moment and that situation that sets and presents in a small dose, one of the faces of the protagonist.

It stands out in the prologue a concise presentation of the film proposal, being very clear that it intends to be and the form that will use for that. A magnificent work of script and direction that added to the photography, editing, art and soundtrack promote an exceptional and deservedly top 10 of the best films made in 2011, yielding to Winding Refn the award for best director at the Cannes Film Festival . Still on the prologue, among other highlights, the appeal of joining the escape of the assailants against the police, where in the car Ryan hears the narration of a basketball game, which will serve as narration of the escape and helper for thieves if Disperse, in the car where the two bandits escape being led by Ryan, we have a camera that records all the moments inside the car and reveals the driver through the rear view mirror and reflection on the front panel of the car. After the successful escape, we have a stylized sign with a pink neon color that entitles the film and having as background the suggestive "Night Call" (Kavinsky & Lovefoxxx), notice that from the musical choice the insertion in the title, the clippings and the Neon photography, everything is very well thought out and structured, collaborating even more to prepare the terrain of "Drive" that does not only mean driving, that is to say also impulse, motivation, the latter being the primary characteristic of Ryan Gosling's character, he is a A hero who rides around the city in search of motivation, something that drives his life and makes him a real hero.

The dialogues in "Drive" are constructed by an originality and punctuality very rare. So much that it is a film of few speeches and several moments of silence that say much, mainly by the game realized by the actors, where the interpretation of a subtext is much more important and evocative than any other speech. Among the performances Bryan Cranston - as Shannon - stands out. The versatility of this actor, famous for playing Walter White in the Breaking Bad series, once again shows his ability to create differentiated characters with a careful attention to the details and subtleties of a smile or the discomfort of a mancar. The rest of the cast promotes a precise job, but Ryan Gosling as a driver, leaves at various times an inaccuracy of proposals, are several plans showing the actor with a neutral physiognomy that does not express anything, nor do they evoke any dialogue or collaborate for a Narrative, its inexpressiveness turns into empty moments and that generate a certain annoyance before a break in the action that says nothing.

"Drive" is a dark film with nocturnal shots and alternates with clear internal plugs with an abuse of orange and yellow tones, its prolonged silences taken by a transmission of suggestion of the actors / personages that alternate what is said with what if That is to say, a story that presents a plot initially with a romantic bias and turns into a brutal violence, with strong scenes and its takes and plans that reminisce much the Tarantino films, mainly by the use plongée and against plongée, the use of a symbology Suggestive, such as the figure of a scorpion allied to the character of Ryan and the conversation with the child Benicio, where a villain is seen from the perspective of a children's drawing, in which to be of evil is an inherent condition of being, in short, in the Dualities that "Drive" is constructed we have a coherent film, that is worth very much for the omission of answers and that make of this film a real work.

The best of the proposal presented by Guy Ritchie, is in total unpretentiousness and unconcern with the lovers or idolaters of the classic tales connected to the medieval universe of King Arthur, it is evident his desire to present a story that talks to the present times, mainly in creating a Blockbuster that meets the wishes of a young audience, arousing in this same audience, the interest in following a new film franchise. Guy ambitiously interweaves the interests of a major studio production, a visual quality and narrative characteristics characteristic of the director. In summary, a film with artistic and commercial pretensions, and that manages to fail in both aspects, which perhaps has generated so many negative critics, but that make "King Arthur" a curious case to be observed and that already it is worth giving that conferred in the movie. Highlight the "hip- hop montage" that portrays the advance of childhood to the adulthood of King Arthur, a work exquisite and characteristic of Guy Ritchie's accelerated montage.

Guy Ritchie is an English filmmaker who caught the attention of many in 1998 with the release of his second film "Lock, Stock and Two Smoking Barrels". It is evident in this work, marks that have become singular to the style of Guy, and that consequently they are present in "King Arthur: Legend of the Sword", like an edition of abrupt images, with cuts dry, fast the frantic use of the images And which are expressed by the use of a very punctual camera whose plans are governed in large part by the editing and counting on a movement of camera and plans as the characters advance, that is, a perspective of following, the follow of a point To the other. A bold language, very similar to that of video clips and videogames, which at the same time generates a contradictory duality in "King Arthur", because, at the same time, it is interesting and different to have a medieval history, which has already been told and retold so many times and In such close ways, here, in Guy's film, it is more remodeled.

To reshape this history, the director renounces any literary pricelessness or of an untouchable character in the face of a secular history, on the contrary, he modernizes it and expresses it in several scopes, in the costume, for example, uses the resource of timeless fashion, From modernization to garments, creating lightness and mobility to aid in the action scenes, our King Arthur is now a man who exhibits the features of his body wearing shirts that show off his pectoral heals. The soundtrack is a separate show, signed by Daniel Pemberton and featuring songs ranging from Led Zeppelin's "Babe I'm Gonna Leave You", blending classic musical styles of Nordic culture, troubadours, polyphonic music with Organon's and with own compositions and an incidental track full of serious sounds, references to heavy metal that resembles something of "Mad Max" and mainly by the insertion of a sound, that in the film mixes to the roar of elephants and its effect of horns and To "BRAAAM", created by Mike Zarin for the movie "Inception" and which has become a fever and almost obligatory resource for action films, suspense and epic traits.

Computer graphics is another interesting aspect in "King", often assuming the direction of the film, because in the great scenes of fight or combat, important and expected scenes with expectations of the fans of this genre, since they are characteristic marks of epic films And action, as well, they are given to computer graphics, which is largely done in a masterly way, but which questions Guy's limits and ability as a director, even in Guy's most striking feature of technical virtuosity, are Now assumed by the graphic resource and exploited in too much time and narrative appeal that only generate confusion, tiredness and again the superficiality strikingly employed to the film, result even in the performances governed by stereotyped constructions. Jude Law as Vortigern, bordering on the infantile of a villain who can not be justified, his ambition, his motivations and vilanias are weaker, compared to a villain of drawing, for all that Vortigern does is about an action punctuated only by doing, Something that so little Charlie Hunnam achieves with his King Arthur, the charisma of the actor is notorious and his effort is visible, but useless before the superficiality of a character and a story that turns out to be more fantasy.

"King Arthur: Legend of the Sword" in trying to be modern gets lost in its own fragmented virtue, generating a fantasy film without trace of wanting to be history, even though it is based on one (for a very rich sign), and ends up generating a product without Focus, but that shoots to all sides and doubting the explicit desire of its end, to stimulate the public to follow the next stories that will come from this franchise, since the inability to stick to the original idea, to tell the legend of the sword Of King Arthur, who ends up being portrayed soon, giving space to a script that turns on an enclosed mission that does not need and does not want to tell any more.

Fellini manages to put together in "La Doce Vita" an impeccable feat. It suggests in parallel and through the fable, a trajectory of the journalist Marcello Rubini that unites and builds the story at the same time, does not present and does not pretend to be a concise narrative. A film structured from the perspective of a chronicler of life, with reflections, criticisms and comments elaborated through a poetic language, where Fellini wisely uses the symbolism, and presents clear references to German expressionism and "noir" cinema.

In the credits that begin this work realized in 1960, already deserves attention the group responsible for the script, besides Federico Fellini himself who directed and co-written "La Dolce Vita", there are expressive names in the construction and expressivity of the Italian cinematography, such as: Ennio Flaiano, Tullio Pinelli, Brunello Rondi and Pier Paolo Pasolini. Told with such a diverse group of writers who were also thinkers, critics, directors, philosophers, teachers and journalists, the option of dividing the film in a prologue, seven episodes with subdivisions, and an epilogue becomes more noticeable.

By accompanying for seven days and nights the trajectory of Marcello Rubini (played by the excellent Marcello Mastroianni), a celebrity journalist living in Rome who self-questions his craft and his life, mainly because he does not have the sensation of happiness , Nor so much of realization, who both (life and profession), projected or promised. So we have a protagonist who is basically driven by emptiness and the search to fill it, moreover, his search is crossed by the contact with several people, who basically only express the same feeling of Marcello, and when we have a figure of apparently life full , So we can visualize the facade of this appearance, as in the life of the millionaire, father and intellectual Steiner (Alain Cuny), a figure at first glance enviable, but who intimately lives under the despair and anguish of not being able to stand out, produce and Keep yourself in the position and level that arouses such admiration.

This deceiving tone is very well represented in the various performances, as well as in the work of art direction and costume, which have in common the dimension of openness artificial and that tries to veil reality, as in large houses and even castles with beautiful facades, But inside that are real ruins, such as the very identity of its owners, who hide in makeup, lights and costumes of external and fragile beauty in the face of the decadent interiority of these people, this difference of exterior and interior was a stimulating motor for the Creation of Fellini, since the dress worn by the ladies of that time, whose fashion was dressed in bag style or "dress bag", aroused the curiosity of the director by its frame that can present and pretend the body, and a very beautiful woman, But it can also hide a skeletal being of misery and loneliness. Something that we can identify as common to all the characters, always attached to a beautiful façade, highlighting the character of Marcello Rubini in another majestic work of Marcello Mastroianni, who can establish very well the subtleties and dramatic curve of the character, As well as the clear trace of graphic oscillations of a life that oscillates in times of peaks of a doubtful origin of both happiness and anguish and sadness.

Curiously, the figure of the photographers of celebrities, that later and because of this film, happened to be called worldwide of "paparazzi", due to the personage "Paparazzo", interpreted by Walter Santesso, in fact, this group of photographers of the film, seem more occupy A position of parasite of the life of others, there are no reflections on their work, so little about their attitudes, only reveal themselves in the thirsty desire to invade the privacy of others and get the best photo, the best moment that arouses the curiosity of the public that will consume The printed or television newspapers, something that as a public of "La Doce Vita", we are in part, equal, since we are placed in a point of view that tries to deepen in the curiosity of those lives, and by the cutback realized by Fellini , Since in this film, his approach is dimensioned in the lives of a class in position and much more favorable condition, compared with the common life, even the photographer M Arcello Rubini, is in an economically privileged situation, which often appears to be a crisis that oscillates between the discourse of a privileged class who experiences dull moments in having their lives as material of interest by placing them in a model place or Another crisis of the age of the journalist in dreams and promises of life as a young man, and now, at maturity, they are unreachable. With this we have in the proposal made by Fellini, the registration and the use of a (privileged) form, which confuses and generates moments that makes his speech unfeasible.

Having only this caveat, "La Dolce Vita" is a timeless film, of pertinent considerations to contemporary life and a flawless style narrative, which are true legacies for the history of world cinema, and that will be for generations, like forgetting the Famous scene in which Marcello Mastroianni and Anita Ekberg bathe in the Fontana di Trevi or the children who parody and criticize the history of the children of Fatima, fed by the search of adults for a way out, a solution to the harshness of life. "La doce Vida" is an exceptional film in every respect, but mainly because it confronts the spectator with the emptiness of our uncertainties regarding life.

"The complete truth is not in one dream, but in several." With this quote that Pasolini, one of the most idiosyncratic of all filmmakers, begins "Il Fiore delle mille e una notte." The strangeness and difficulty of his work Of his commitment to the contradiction: The basis of this commitment was the refusal to abandon the diverse and partly irreconcilable influences that determined the nature of his art: Catholicism, Marxism, homosexuality, urban favelas (scenarios of his early romances ), The peasantry, neo-realism, an attachment to the fantastic and miraculous.

While "Il Fiore delle mille e una notte" seems to be so far removed from the proposals of neo- realism (in an attempt to capture the external and internal realities of the contemporary moment), the director still remains incredibly faithful to neo-realistic aesthetics : The use of non-professional actors, scenes filmed in external and real places (without the interference of artificial scenes or built specifically for the film), and the spontaneity of the game.

Written (with the collaboration of Dacia Maraini) and directed by Pier Paolo Pasolini "Il Fiore delle mille e una notte" (1974), it is the third and final chapter of the "Trilogy of Life" after "Decameron" (1971) and "I racconti di Canterbury" (1972). The greatness of the work of foreigners is noted, with scenes shot in: Yemen, Ethiopia, Iran, India and Nepal, and having a much more complex pre- project during the drafting of the script, undergoing major modifications during the assembly phase. The film was awarded in 1974 at the Cannes Film Festival, having achieved the Grand Prix.

"Il Fiore ..." is based mainly on a story that interacts with others, that is, they are mini stories or episodes, which in the end intertwine in a great fable of a dream world, being the protagonist of this story, the A young couple of lovers, "Nur-ed-Din" (Franco Merli), a cheerful and silly young woman and "Zumurrud" (Ines Pellegrini), a charming and very clever slave. From this couple that marks the initial and main story as a unifying thread, Pasolini tells, six other stories (organized into two groups of three) within a five-part structure.

Each story trio has its own inner themes. The first three (brief anecdotes) are concerned with sexuality and equality, the third (more developed) ending in a tie and the demonstration that female desire and male desire are equally potent. The stories of the second trio are all concerned with the notions of Destiny: two stories in which fate is inescapable and included in a trajectory in which destiny is overcome. In addition, the story of Aziz, Aziza and Badur is in contradiction with the history of the picture of Nureddin and Zumurrud. They are linked by the contradiction that "faithfulness is beautiful, but no more than infidelity." In the tale of Aziz, conflict leads to death and castration, but in the main story, fidelity and infidelity are reconciled: Nureddin, in search of his beloved, can be led to innumerable delightful sexual amusements, but his allegiance to Zumurrud is Always triumphant over them, and finally rewarded in a happy ending that plays (in order to repudiate) sexual power relations.

The recognition and celebration of diversity is an aspect of one of the central movements of Pasolini's work: the effort to rediscover a sense of the wonderful, the magical. Of all the films of Pasolini, "Il Fiore delle mille e una notte" stands out for perceiving the common sense of sexual relations, their pleasure and fun, and promotes this through an eroticism purged of all the contamination of pornography. Relationships that are established with sexual favors or in the end concretized by sex, much more than gratuitous or vulgar, present themselves as something human and common to all, without judgment of values, but for the pleasure of self-satisfaction.

The script, although constructed on a very rigid structure and divided into three acts, each one of which, in its case, divided into four parts, with the strong presence of the structure as an element of connection and homogenization between the stories Chosen by Pasolini and based on the tales "Arabian Nights," in short, the same narrative material is instead presented in the film in a rhapsodic and continuous form. However, we can observe in several moments the remarkable presence of the author (script) and director, transmuted into speeches and defenses redundant to Pasolini, regarding political positioning, his homosexuality and obvious affirmation of faith and heresy.

The work of camera movement is very curious, since Pasolini opted for the use of camera in hand (another clear reference to the neo-realism), which generates an intense movement, almost documentary and that associated with the beautiful photograph of Giuseppe Ruzzolini, Results in a great work and that knows to take advantage of the numerous and beautiful locations, having registered countries that throughout the history have closed by conflicts and wars. Ruzzolini also realizes a vivid photograph that does not differentiate what is reality from a dream, something that we can understand as an assumed position in not defining, giving the viewer freedom to understand everything as a great dream or story, and to make their own separations . Also worthy of mention is the work of Rank Film Labs, with simple special effects and practically handcrafted and that dialogue with the idea of ​​a story, of a story of fable, still permeated by criticism and political sense.

Pasolini expresses through the cinema: beauty, love, truth and justice. Pasolini is essential because of its provocative, jocular and impudent nature in going to the bottom of controversial subjects and that society seeks to conceal, so little still, to accompany in a film. "Il Fiore delle mille e una notte" is a dazzle of images that allude to the dream of an imperfect world, but essentially human and therefore susceptible of errors that are assumed in the attempt of correct.

The last consideration we can make about "Waiting for Godot" is to be an adaptation of Samuel Beckett's play, perhaps for issues involving copyright or respect and admiration either by the author or the text, Michael Lindsay-Hogg, director of the film Made in 2001, ends up presenting a production that is largely the same, a piece that was filmed with rare oscillations and space opportunities for a possible draft audiovisual exercise. In short, it is not an adaptation as it seeks to be more and respect a theatrical record.

Samuel Beckett (1906-1989), "Waiting for Godot" (1948-1949), was the first play written by the director, playwright and theater scientist, has features of Beckett's distinctive style, as well as marks Theater of the Absurd developed by the author, as well as the question of existentialism and its view of human life without meaning or purpose, easily identifiable mark in Waiting for Godot, where two lords, Vladimir and Estragon, await the arrival of someone every day Who never comes and who goes by the name of Godot.

In the 2001 film by US director Michael Lindsay-Hogg, nothing in the original text is abandoned, unlike anything else such as the indications, marks, lines, rubrics in brief, the entire text structure of the piece is presented In the film, we even have the division of the film into two acts, equally the division of the piece, but, this is not the point, which reduces the potentialities of the film. Although the director has gone through copyright to Beckett's piece, which has a rigid and accurate manual of how it can and should be assembled, where, for example, all the author's indications can not be modified, the piece is practically Followed by an instruction manual that does not allow any changes. Still with this possible prerogative, we can not consider as a limitation, as the film often presents itself, since the cinematographic tool has its own expressiveness and that if incorporated into this history, would have great potential.

In large part we have a film where the camera does not assume the posture of an audience, but also, little is assumed as a mark of a direction, it is limited to register dialogues and carry out plans and against plans, in the sequence and mediated dialogues and against Di-analogs. Few times we have the use of other plans or camera movement that allows a cinematographic grammar, and when they arise cause great enthusiasm, as in the "traveling" I went through the void of a beautiful work of theatrical stage, but very well done and that Presents a deserted road that can not be described because it does not resemble anything at all, and where there is a skeleton of a solitary tree, without leaves, but in the passage from what would be overnight, or who knows of many days , Is made to flower with some leaves. Besides this "traveling" punctual, we have two or three movements of "plongée", in the others we have a cadence of general, medium and closed plans. I do not mean by this that the director is limited or that the little exploration of a grammar does not make it a filmic possibility, what I mean is that by clinging to theatrical marks, a unique setting, inexpressiveness of movements and the persistence of Text, we have a slow and tedious material that if we want to be theater or theater record before the possibility of being cinema, which is pitiful when we combine the text of Beckett, the possibilities of surrealist art, of absurdity and the vast experience of Hogg In the production of music videos, where he directed clips of the Beatles and the Rolling Stones and then migrating to TV, theater and cinema.

With the limitations of one direction resulting in an unimpressive film and resulting in the disfigurement of Beckett's proposals, and not generating the reflexive and provocative pungencies originating from the text, the few positive ties to the film are a precise work of art and enlightenment, very faithful to the History and the construction of its narrative and also of a beautiful work of the actors, who, by the way, take to themselves (completely) the film.

Barry McGoverr (as Vladimir) and Johnny Murphy (as Estragon) perform a work of extreme duplicity, which promotes unique moments, as in the game very close to the clown field, with a stylized floor and especially in the scene of a hat that goes From a slow-moving hand to the rapidity of the gesture. Barry enjoyed a major international success with Beckett's award-winning "I'll Go On," which Gate Theater presented at the Dublin Theater Festival in 1985. Already the game written by Alan Stanford (as Pozzo) and Stephen Brennan Like Lucky) are equally duplicitous and provocative moments that range from pure laughter to the revolting place between the exploited and explorer, in a game very close to the circus and commedia dell'arte style. At last we have Sam McGovern, who emerges as Godot's boy of errands, the boy who ends his acts in the promise of a delayed but hopeful arrival, moreover, this boy is full of meanings, languages, and metaphors.

I believe that all experience is valid and it is up to each person to draw on personal experience of their own, because in this way, it is possible to arise and visualize points that touch him, which are more important and urgent to him, but in my experience, Relevant to Hogg's achievement. I invite others to go further in the experience of reading the book or watching Beckett's play because the film can frustrate and even generate false understandings for those who seek a first contact with Beckett's theater, and if it is desired to accompany The film, that does not do it exclusively, but if it looks for the other and original ways for the theatrical work that in no way manages to assimilate with this work realized in the cinema.

The most significant in "Aquarius" is its explicit range of understandings and possibilities. It is a film where the public is invited to be also author, thus, can stick and build the story that suits him. Little freedom seen in Brazilian cinema.

Inversely contradictory to what is presented on the screen, "Aquarius" begins much more for the end than for a really beginning. His narrative explores the cyclical state of the human condition, where even the belief of continuous advances, whether in interpersonal relations or with technologies. Jumps that seek to conceal the lack of perspectives for recurring ills generation after generation, only amplifying their problematic and making sure to circle specific classes. As for example: the sewer pipe on Boa Viagem beach in Recife, which separates the rich part of the poor. Housing and real estate growth is common on both sides, as is the historical mimesis of inequalities and particular interests.

Made in 2016, the film has the screenplay and direction of Kleber Mendonça Filho, who had already attracted the attention of the public and critics with "O Som ao Redor", of 2013. In "Aquarius" we follow through an optic testimonial of Moments and oscillating between significant and insignificant in the life of Clara (Sônia Braga), the greatest moment being the phase of 65 years, in which Clara is widow and last inhabitant of the building (Aquarius), on the edge of the beach of Boa Viagem , In Recife-PE.

As for the editing and editing work promoted by Eduardo Serrano, which fragments and joins times through the "Jump Cut", a dry cut made in an image sequence of the same plane where it advances in time, a dynamic cut, cutting the " Breathing "and pauses, which serves to transmit urgency or create the sensation of advancement in time, this style of assembly undoubtedly collaborates for the narrative construction of the film as this urgency and advancement of time, do not effectively result in anything, only advances by Emergency to start or change state, but that by the speed does not materialize, it only takes place as an obligation to close a cycle, and then to restart it.

Highlight for the soundtrack and for the work of diegetics performed by the editing and sound mixing of Ricardo Cutz, who makes an impeccable use of the sound that participates in the narrative of the film and that is part of the universe of the characters. All Aquarius songs using the (diegetic) effect that relates directly to what the characters are listening to is the same as the audience, work perfectly and are not free, and has a track that basically splits into Be descriptive of Clara's personality, or evocative of a state, quite the style: now I'm feeling in the pit and I'll hear a pit music. However, in all cases and even with the diversity of the trail that goes from Roberto Carlos to Queen, through Reginaldo Rossi to Villa Lobos, everything is very coherent and credible of the personality and the likes of Clara. Creating a soundtrack of life, the only negative point, is the direct sound capture performed by Nicolas Hallet, in some moments are inaudible the speeches of the characters, for example, in the dance scene where Clara dancing with a man of origin "Capixaba ", In which she already attentive to the fact that the character speaks" softly ", and added to the sound of the party it becomes impossible to understand what this man speaks, it is doubtful if it was a proposal of the film, to be another one of the empty scenes (Not in the pejorative sense), but of intimate and personal scenes that build and modify Clara, or if it was a failure of capture, since it seems that a microphone had occurred only the main character.

Among the performances, only the embezzlement felt by the incoherence of an accent, which causes a certain strangeness in acting and convincing in the work of Thaia Perez (Aunt Lucia), her aunt, seems to have fallen there, in that house, out of nowhere. The work, in general, is satisfactory and well punctuated, although to those who know the work of Irandhir Santos (like Roberval), it is an apparent debt before the greatness of other cinematographic realizations. Sonia Braga (as Clara) and Humberto Carrão (as Diego), who know how to balance the game of personal interests and defenses, in the beginning the friendly and conciliatory air of Carrão are well dosed, and are not lost when he reveals His most aggressive tone as a young man with an MBA, and counterbalanced with these two poles, we have a Clara who introduces herself as a turrona lady and a woman who just wants to live in a place that is her right.

Disregarding any and all controversy caused by the film's launch at the Cannes festival in 2016, and by the conscious stance of the artists who sought in that space, alerting to Brazil's situation after the process of a questionable impeachment of President Dilma, "Aquarius" is a film Well within the framework of Brazilian politics itself, where common interests rival the interests of large corporations and those in power, the system in force in Recife, which is criticized but at the same time reproduced by Clara of interests And personal support, are granted in the measure of the proximity of family or affective relations, is as common in our politics as in our lives, how good it is to have that person who, because he is close to us, de-bureaucrates a service. Among so many reflections and possibilities that "Aquarius" allows, is mainly that of a committed cinema to talk much more with his country, than with commercial interests, although box office does not do any harm.

"Bellissima" is structured in a circular and ephemeral plot. Their conflict, which becomes stronger as a situation, is mimesis of reality, of stories so close and common but diversified. In short: the human desire to overcome poverty, even if we stimulate exploitation even more.

The timeless character of this film made in 1951 by Luchino Visconti, is already clear in its synopsis: The story of Maddalena (a nurse), who inscribes his daughter Maria, in a contest that aims to elect the most beautiful girl in Italy. The contest represents a ticket to give the daughter a life that oscillates between dignity and luxury, being that mother-protagonist, ready to everything to guarantee the victory of the daughter.

In a large part of this story that sometimes takes situations and absurd moments, facing a desire that borders the limitations of vision, rationality and absurdity when showing the starting points, play and finalize this saga. That is drawn by a mother motivated by the future of her daughter, this dramatic dimension that is characteristic to the film, if diluted wisely in moments of comedy. Maddalena's attitudes are laughable, all the more so as in the lack of artistic talent of her daughter. This laughs at the other, the role of a fool that plays this mother not to notice in the daughter who lacks other attributes, and the belief that the beauty of the girl, added to the interference of this mother, as in trying to buy the jurors or get someone inside the Production of the film that highlights the test of Maria, that this sum can interfere in the result and consecrate in the victory of Maddalena through the small daughter.

With all the merits of a timeless story, and without regret the fact that the director had in hand a material very close to the neo-realist films that consecrated him, that is, to have something very close to the style that was customary to do, but that is Rejected in "Bellissima", approaching this story through the realistic bias, in which, personally, I consider that it was desirous to the producers of the film and to the director to present a more comprehensive aspect of the fable, considering the common character of this story, that happens and repeats itself In life, and which is now reflected on canvas, but which, in abandoning a reflection of this realism pertaining to a certain social reality, generates a filmic approach that equates maternal desires, however, disproportionate and invalid in face of class differences and consequently incapable of generating Changes, or results, how can you compete with a family that already has a wide advantage? This inequality of classes is mentioned and treated very superficially in the small plots in which they are presented, this minimizes the strength and potentiality of Visconti and Bellissima, since the approach in which it is presented (its form), makes it impossible for itself speech. The struggle to overcome class differences, through methods that reinforce and contribute to these differences. In truth, the mother does not struggle to overcome anything, she wants only to belong to something, and in the end, when she perceives this world of cruel differences that she admired and in which she ended up collaborating, it becomes, then, the moment of rationality and revolt of Maddalena. In portraying cinema as a microcosm of a prosperous world in advantageous possibilities, Visconti satirizes the film industry itself and human innocence in the face of its belief in possibility and belonging. This belief that induces the ability to use mechanisms, but is already dominated by commercial interests, which among others, result in the strengthening of class differences and simulate a fantasy world, such as the cinema and its benefits.

The entire film is anchored by the magnetic and fascinating performance of Anna Magnani, who fills the entire screen with a fiery vitality and intensity that is almost impossible to look away. In 1951, she was one of the queens of Italian cinema and was already echoing all over the world. Anna was the favorite actress of Bette Davis, and Bette considered Anna's performance in "Bellissima" as: brilliant, uninhibited and full of immense power. There is hardly a moment in the movie where it is still or silent. Visconti, almost exclusively, records Anna in medium and full planes, giving her ample room for compositions and promoting seams from one end of the frame to the other.

Between several scenes of fade-in and fade-out that stitch together the film, between jumps of episodic events that collaborate for the construction and the outcome of the plot, it calls the photographic proposal of Piero Portalupi and Paul Ronald, who basically establish a climate of life Obscure in the apartment of Maddalena, in contrast, the reflectors and dazzle of lights of the "Cinecittà", a directing of light that directs not only the convicted desire of Maddalena, but with only enlightened path that offers a perspective, a way out that life between Shadows Another great moment of mastery of this photograph is in the game between half light that illuminates faces or that highlight one among many others, a clear allusion to the pursuit of brilliance and own light that dialogue and much for the construction of "Beautiful".

Although not the most interesting film of Visconti, and leaving aside many of the brands that have consecrated it, "Bellissima" is an interesting work and that dialogues with the contemporary world, and possibly dialogues with the future world, since between the social differences Which we both struggle to overcome, are often unconsciously reinforced through a selfish struggle that seeks only to save some and not realize that it will only result when we understand the need for a whole. Luchino Visconti was able to write for our eyes, an important social and cultural document that reflects on yesterday, analyzes the present and provides paths for tomorrow.

In "Uccellacci and Uccellini" we have truth, naturalness and authenticity so well incorporated and structured that it is hard to believe in the possibility of comedy in the face of such harsh realities and of a world where people use the hardness of their lives as materiality for laughter . A particular work in his proposal and among many reasons, a rare work.

Written and directed in 1966 by Pier Paolo Pasolini, "Uccellacci and Uccellini" is one of those films that generate immediate division, there are no half terms. Particularly, I consider it as a special film, but that already shoots in ample start for my appreciation, for the respect and admiration that I feel for Italy, for its history in the cinema and by diverse actors, among them Totò Innocenti.

"Uccellacci e Uccellini" has all the key characteristics of the Neorealist style, and deals with Marxist concerns about poverty and class conflict, but without losing his humor, which, by the way, generates great power and importance of this work, Uniting political reflections, social construction and having as a midfield, humor, Pasolini achieves a comprehensive and active dialogue, places the viewer in a critical and reflective situation, delivers a work open to laughter, but not limited to that. To overcome the limits of a common or simplistic comedy, it was, but of what it necessary to count on the support of the Italian actor Totò Innocenti.

This was Totò Innocenti's last film. After the death of the actor, two other films were released, but in both productions, the filming took place long before "Uccellacci and Uccellini". Totò in 1966 was already more than a consecrated comedian, his figure was a mark and renowned of Italy, having the recognition of his work expanded to other countries and continents, it is not for nothing that he is part of a select group where the actors are present Charlie Chaplin and Buster Keaton. We can see in Uccellacci and Uccellini a more restrained Totò, which generates a certain strangeness for those who already know it of previous works, much of this half disengaged, sometimes even plastered originate from the direction of Pasolini, who limited the improvisations, The game and even the face masks of the actor, requests that denied the characteristics that made Totò a celebrated comedian. It is necessary to understand that the requests of Pasolini were not ways to cut or to diminish the work of Totò, on the contrary, knowing the artistic quality of the comedian, Pasolini sought to present a punctual work and that dialogued with the neorealistas proposal of the film, besides being a Great opportunity that Pasolini offers to the great Totò.

In "Uccellacci and Uccellini" we have truth, naturalness and authenticity so well incorporated and structured that it is hard to believe in the possibility of comedy in the face of such harsh realities and of a world where people use the hardness of their lives as materiality for laughter . A particular work in his proposal and among many reasons, a rare work. The allegory created by Pasolini, unifies aspects of Marxist philosophical fable.

As in all fairy tales, there is a definite story in this film: the narrative pretext is given by the philosophical (Marxist) considerations of an old raven that approaches two men, father (Totò) and his son (Davoli). The crow seems to convince the two men, using his wisdom and his words, but the moment the problem of hunger appears, the "reasonable" man reveals himself, and Totò ends up eating the wise crow. The allegory presented is clear and well performed.

Regarding the neo-realist considerations presented in the film, I can categorize them through André Bazin, a French cinema theorist and critic, arguing that neorealism portrays: truth, naturalness, authenticity and is a cinema of duration. The necessary characteristics of neo-realist cinema include: A defined social context; A sense of historical reality and immediacy; Political commitment to progressive social change; Authentic scenes and scenery with its location, as opposed to the artificial studio; A rejection of classic Hollywood styles; Extensive use of non-professional actors as much as possible; A documentary style of cinematography.

"Uccellacci and Uccellini" is reportedly the work that Pier Paolo Pasolini most loved, probably because it is the most complete synthesis of his artistic eclecticism. It is a work with great poetic power, from the beginning was the object of discussion and controversy. He got a special mention at the Cannes Film Festival and was awarded the silver prize.

The fear of Chaplin and his tramp Carlitos is the fear of the common man. The uncertainty of a world that in the measure of its modernity, excludes the individual and the spaces for the human feeling.

"Modern Times" uses the facet of satire and at certain times of the parody to result in a critical and conscious comedy. It promotes a laughter contained in a world where the population is comparable to a flock grazed by large corporations and corporations, and even being a film scripted and directed by Charlie Chaplin in 1936, has a strong prophetic or futuristic character, timeless and certainly helplessness, when we reflect In the position of the contemporary world.

Chaplin in "Modern Times" already philosophized on so many important issues that when reviewing his films, we were amazed by his futuristic vision in terms of technology with surveillance systems monitored by cameras, a mix of reality show with face time, (Such as Skype), voice messaging (WhatsApp), digital recording, and the interference of man's banal activities, such as having lunch, being interfered with by machines and everything to ensure more work efficiency, Wasted time with human activities.

In addition to the technological advances, there is in the film, or at least in its first part, an analysis of the effects and reflexes of modernity on man and the world, expressed by relations of subordination and power, by the totalitarianism of business groups and by the inexpressiveness of trade union movements Which result in meager advances and are brutally repressed by the police force. A well-presented paradox in the film is how man has managed to advance in technological modernities that, on the other hand, only increase the differences of social classes, generating groups concentrated by industrial power and a whole mass that is at the mercy of a great employment opportunity Part exploratory and enslaved. Living in miserable conditions, in a daily struggle for survival and without the prospect of a better future, there is nothing left but a passive position of the people, who fulfills their expectations with dreams and fantasies of consumption and a life less unworthy.

The critical character of "Modern Times" knows how to measure well the moments of comedy, in fact, they mix in a homogeneous mass so well structured that allows the public, if it so wishes, to stick only to moments of comedy, but if you want, Just look more closely and we can see and see our world through a critical humor perspective. Perhaps the fear of Chaplin and his tramp Carlitos is the fear of the common man. The uncertainty of a world that in the measure of its modernity, excludes the individual and the spaces for the human feeling.

Particularly, I believe in an attempt by Chaplin to soften his critical stance, for, in structuring the script of "Modern Times," the story is divided into chapters that resemble chapters, and which can, as a filmmaking feature, be relocated without Major implications, since the dependence of one chapter does not strongly interfere with another. This structure that border the sketch or "sketch", are, in my opinion, a weak and harmful feature to the film. So much that the resolution for this is a passage of days, there are no missing cards that inform the next action (chapter), it occurs ten, seven, five, two days later or within weeks. This division is so explicit that we can structure the film in the following way:

Chapter I - Factory; Chapter II - The Prisoner of the Tramp Chapter III - The Life of the Poor Girl;

Just in the middle of the movie, we have an unfolding of this critical and political comedy for a romantic comedy that nothing resembles the initial idea proposed to the film. The only vestige that remains of this trait is in the labor relations, the search for a job and a change of life.

With the proviso to the slip of his narrative structure, you had a great work, and one more impeccable work of Chaplin. When "Modern Times" was made, cinema already had the sound feature, but Chaplin, mainly for his ideologies of creating a universal art cinema, which was not hampered by differences of languages ​​and other motives, remained faithful to the comic of mimicry , Which made him deservedly famous and admired all over the world.

Conversely to those who say of their fear of using the soundtrack, we have in this film a Chaplin conscious of the advances of the sound and that knows to take advantage of that, the sound is presented as a technology that allows the sending of recorded messages, in the sound games like beats In the door that serve to confuse the actions, in the use of a radio to inhibit the sound of the gastritis and where the radio announcer remembers exactly to take the medicine to heal this evil and especially the sound, like match point of the history. If the hobo can not get a joint job, how about trying life as an artist? But for this it is necessary to sing, therefore he who never speaks. The result

Although not the most interesting story (in the script and direction), told by maestro Vittorio De Sica, "I girasoli" has singular moments of visual poetry, interpretation, sound and indisputably of De Sica's ability to record and transmute the simplicities of life.

I remember the first films that I watched this, that is, a great inspiration and to those who always devote an absolute favoritism. Vittorio De Sica through the possibilities of presenting and not representing life, as the Italian neo-realist movement wished, giving rise to films that were very close to a documentary record and fascinated by their seam in reverse, without modesty to show the volatile frenzy of a Country and its people, in the face of the new relations that emerge, and in the uncertainty of their durability.

Certainly a cultural movement can not be tied to a creator, on the contrary, it must be a device for new constructions, and this is notorious in "I girasoli". Produced in 1970, with a script by Cesare Zavattini and an argument elaborated by Tonino Guerra, famous poet, writer and chronicler of the war. Being an Italo-Franco-Soviet co-production, this allowed for a rare record of the former Communist bloc, in part because of De Sica's good relations with the Italian Communist Party.

In the form of an ultra simplistic summary, I would like to say, "I girasoli" is the portrait of a brief happiness in the face of the non-amorous concreteness ruled by the adversities of war and reasons not always surrounded by logical meaning or possible to name. The film succeeds as a moving family drama, and microcosm of the social history of Italy during the 1940s (war period) until the early 1970s.

The weight of the commercial influence causes losses notorious for the film, in which its plot is constructed through moorings that seek to structure and punctuate the trajectory of the personages to the molds of the melodramatic structure of the films Hollywood of that time, disfiguring the original character of drama that the film proposes And the crisis relations of the drama, always prosperous element in the hands of the director De Sica. This disfigurement may be noted, for example, in the long and unnecessary record of Masha (Lyudmila Savelyeva) revealing to Giovanna (Sophia Loren) how she found and how she rescued Antonio (Marcello Mastroianni) from the cold and the war. A resource, I think, to further punctuate the melodrama of the story and to even more balance the audience in their love and final end crowd with whom Antonio should stay? The beloved woman or the woman who saved you?

There are several moments in the film that result in the same sense, to prolong the melodrama, to balance the decisions of the public and to exhibit explanations, something that makes the film exhausting, explanatory in excess and shallow before the dimension of human questions and the possibilities of social, Political and war-related issues that end up being used only as a background, and which, when evoked, are treated superficially.

A highlight and deserves special attention is the relationship established by the protagonists Giovanna (Sophia Loren) and Antonio (Marcello Mastroianni). De Sica had done some work, with Sophia and Antonio as a couple of protagonists, (example: Ieri, oggi, domani -1963). This previous experience, collaborates both for those who have already attended or for those who witness for the first time the partnership between such actors and the director. This total chemistry, ease and intimacy for the game, collaborate exactly, where it does not take more than three minutes, for the public to twist and "ship" the couple Giovanna and Antonio. Something very important and necessary for this story, since the happiness between these two is brief. Just as in a football match, the audience vibrates with the determined, passionate posture of Giovanna - an Italian woman - who goes to Russia to look for Antonio, the husband given as lost during World War II. The crossing is made by urban landscapes and fields of sunflowers, a beautiful, flowery and poetic passage that collaborate in the perspective of a happy ending.

The work of Sophia Loren is hard in the attempt to disengage from the muse and sexual appeal common to the history of her characters, and in many moments succeed, but to facilitate the outcome of its history, we have precisely the use of the muse and the sexual appeal, But clearly as a resource imposed by the script and accepted by the management. Already Marcello Mastroianni impresses by charisma and magnetism, a simple portrait of the actor or character are enough. We honestly know that it is not at all a difficult job for both actors, since the characters do not require during the feat, during what is filmed or captured, a scattering of states, feelings and conflicts. The melodramatic load is already in charge of this, but at no time do we see a minor work, a corner job, or a lack of prestige.

Highlights for the track of Henry Mancini, famous for creating musical identity in the films in which he works. Giuseppe Rotunno's Photography, especially in all the scenes of crowd, that added to the direction of Vitoria print a true picture of an Italy. Among so many moments of brilliance of direction and photography, I highlight the first scene of war in Russia. The strong and fruitful image of a large red flag swaying in the air and oscillating between projections, background and transparencies of a war in the snow that is stained by the blood of people as lost as the fate of two homelands that oscillate between the mother And the hangman, an opposition who, at the same time, embraces and sentences the life of the citizen (common man), and the soldier of war.

"La femme publique" does not allow traces of subtlety. In fact, in fantasy or in the mixture between these two poles, everything is said or shown in excesses.

To the unsuspecting, it is the warning: the work of the Polish director Andrzej Żuławski is neither rest nor invitation to the contemplative gaze, nor does it want to be analytical. It allows, however, many reflections and moments of pure poetry, but its main characteristic is the disturbing, provocative, rebellious and critical figure about life and consequently about man.

"La femme publique" was made in 1984 with inspiration from the novel "Demons" by Dostoevsky. Scenes of this same healthy play used in a film that is being made within the film itself or what would be the main story "La femme ..." this use of metalanguage, which often complicates the understanding of the work, yields, in Counterpart, a valuable game that even equates the audience with the protagonist of the story, the dizzying Ethel (Valérie Kaprisky).

She equates in the sense that Ethel is a young aspiring actress who can not differentiate acting and reality, to the point of assuming the figure of a dead woman whose murderer is the abusive and displaced director Lucas Kesling (Francis Huster), add to this plot the A figure of Milan (Lambert Wilson), a Czech immigrant who is manipulated by the filmmaker (Lucas) to commit a political assassination. Among these three characters that form a love triangle that is never realized or wanted to be performed, we accompany the fears, insanities, challenges and impulses as archetypes of a fictional world mirrored to the real.

At various moments in the film, we feel as if we are as lost as Ethel, and as his character, there is no one who can give us hands, on the contrary, whenever someone arises we are attacked either verbally or physically, which establishes A very crazy game that makes us embarrassed, because when this game is fictional (that is being shot during the main movie) such aggressions are even well received, but when they reveal themselves in the reality of the lives of those actors, human beings, it is an aggression Even though there is a strong backing that we are watching a performance within the other, but again, as it is mirrored in real life, it is a madness and aggression common to human life.

Whether it's a recording set, a movie day, or the end of the movie, where actors like a theater revere the public's applause. In all these moments that mix reality and fiction, the palette of tones used in "La femme publique" does not allow traces of subtlety. In fact, in fantasy or in the mixture between these two poles, everything is said or shown in excesses. Because the traits are so gross, the moments of failure and the uncertainty of which world we are, soften this drama. It is interesting to note the theatrical references that accompany the director Andrzej Żuławsk, not only of theatrical authors, but in reference to theatricals like Brecht, with his political theater with ruptures and fragmentation of the scenes, besides the "I" narrator where the figure of the actor is Sometimes the intermediary of the author's ideas. Another theatrical reference is by Antonin Artaud is his theater of cruelty, where the actors look for in real situations and emotions to bring them and to revive them in the stage, like the young actress Ethel of the film, however, that is lost when mixing Reality and fiction.

Although relatively narrow, Zuławski weaves his own tale of political violence with Dostoyevsky. Kesling explains that he wants to adapt the novel because it is "a prophetic tale about those who try to change the world through violence," and strangely it becomes the incarnation of Stavrogin and Verkhovensky. Zuławski selects key scenes from "Demons" to include as the film within a movie and most of them have to do with political content. The scene at one of Verkhovensky's meetings is brilliantly filmed as a sweaty game on an indoor tennis court, where it is stated that "murder, blackmail, extortion, bombs" will be added to his agenda, and a list of people to be killed must Be drafted immediately.

The camera in the films of Żuławski is chained in scenes, advancing in the arrows and actively seeking the actors, most scenes of "Femme Publique" is struck by low and daring angles that make Kaprisky a species of totemic goddess or a lost soul in means To vertiginous and cavernous European buildings, spiral staircases and dilapidated columns. But this is also his most sumptuous film in terms of lighting, courtesy of the celebrated director of photography Sacha Vierny.

No longer the acting of the actors is the height of the film, but Valérie Kaprisky with its Ethel dominate the scene. If at the beginning of the film we have the young actress with lots of magazines of famous actors, the same happens with the consecration, even if fantastical of Ethel, stamping another pile of magazines, becoming the actress and woman publishes. Ethel's eroticism, through her body, her dance and her beauty, which is eternalized in this film and will surely be in the public's memory for a long time.

The philosopher Henri Bergson devoted much of his studies on comedy, as we can see in his book (TEST ON THE MEANING OF THE COMIC). In this work, which breaks down the foundation of laughter, Bergson points to an idea in which the English comedy group "Monty Python" uses it almost as a thesis, in the case: Laughter is the mechanics applied to the living being.

In "Monty Python & the Holy Grail" (1975), we have all the distribution of a mechanics applied subtly, without toadyism's or presented in a mandatory way in order to provoke the amusement of the public, although it is a comedy, it is not performed Openly as conventionally other films of the genre are proposed, something that can be verified in the film "The Meaning of Life", later work of that same group, that uses of "sketches", something simplistic and shallow in the construction of conceited, mainly if we consider The complexity of the comic effect employed in a feature film with focal and linear history.

The comedy whose main satire focus is on the legend of King Arthur, is a work written and performed by the group Monty Python and which was directed by Terry Gilliam and Terry Jones. The satire employed expands its limits by showing a king on a sacred mission, and who, because he is a believer of his condition, provokes laughter by having this severity interrupted by riding on an imaginary animal which exists only through the beating of a coconut, A sound effect entrusted to his helper Patsy (Terry Gilliam), the sonority is enough for King Arthur of the Bretons (Graham Chapman) to believe to possess a horse that accompanies him through the English lands. This effect not only of the sound, but of a king almost in the mold of the Danish tale "The new clothes of the king", where a noble parades naked, but believing to dress a beautiful clothes, therefore, his tailor told him, in King Arthur's crazy, imaginative stance added to the sound of the coconuts will be calculations resulting from a recurring mechanical summation in the film, something Bergson identifies as the mechanics of repetition for laughter.

"Repeat, a combination of circumstances repeated exactly on several occasions, in stark contrast to the changing course of life - the more comic the repetition (or coincidence) the more complex the repeated scene is and the more natural it is represented (two Conditions - complexity and naturalness that seem to be excluded, and which the ability of the theatrical author should reconcile) ". Bergson, 1900.

The highlight of this characteristic repetition in "Monty Python & the Holy Grail" is the sophistication in which it is built, and in the moments when it is inserted, therefore, it is something that runs the risk of being tiring or beaten but that in the movie exercises A charm to the point of wanting more. The same effect occurs in all circumstances in which King Arthur and his companions attempt to invade castles, but never succeed. Since the attempts, these different, always fail, even when they prove to be an excellent idea, as in the attempt to mold the Trojan horse, which in the film is replaced by a large wooden rabbit handed over to the French.

An interesting division made to know each of the Knights of the Round Table in detail is a break with the Brecht theatrical model, a break with the fictional narrative, presenting a historian (current to the period in which the work was performed), and Of a television program, explains or tries to explain what happened to the knights, but a tragicomic outcome is given to the teacher, this unused break for free, gains permanent prominence as we feed back the plot of the film, evoking moments of Laughs through the repetition of interruptions of medieval history by a modern police investigation.

Direction and photography make primary recording slips, in some scenes, for example, there is lens blur, and the use of open planes can not always communicate the size of what one wants to reveal, perhaps this occurs for a budget limit , Since many of the plains scenes are flattened in medium planes that do not account for registering castles and settlements (something that needs investments for construction), already in the dark scenes or of mists, the use of close's, big close's and open plans , Rather than assisting in any dialogue, only complicates and diminishes the intended comic effect.

It is worth mentioning that the moments of insertion of the animations are all very well inserted, besides the impeccable art that collaborates and helps in the construction of a comic proposal, and even being drawings inserted in a human history, are used naturally. As Bergson explains, this occurs when a certain comic effect derives from a certain cause, the more natural we are to judge, the greater the comic effect will seem to us: we already laugh at the deviation which appears to us as a simple fact. More risible will be the deviation that we see arise and increase before us, whose origin we know and whose history we can reconstitute. The cause of the insertion of these drawings into the film are always the results of a world and a divine order, which leave the terrestrial plane and present themselves as the world of the human extra-plane, and are recorded just like the illustrations of the catholic church in the middle ages , However, without the seriousness of the trait of the church, but always of the comic trait.

Directed in 1983, by Terry Jones co-creator and member of the comedy company Monty Python, the English group employs to the film a division in "sketches" somewhat common the television humorous series, and that during the film is explained through the acid humor , Its division is due to the inability of the public to follow a long and continuous history without commercial breaks or that does not introduce throughout history violence, sex explicit or anything else stupid to the point of being censored and provoke controversy enough to take people Of the screen of a TV and to arouse the interest of going to see a movie in the cinema.

This sour, debauched, witty and playful tone will be present in all divisions and sub-divisions of "The Meaning of Life," yet the script will be careful enough to create connections between stories which is done very simply and Effective, and with great humor.

The film is divided into about eight chapters: The Miracle of Birth; Growth and Learning; Fighting each other; Middle-age; Liver organ transplants; The Autumn Years; The meaning of life; Death - and when these frames connect the effect is even more fun.

At the same time, the use of "sketches" allows a dynamic and propensity to encourage the audience to stick with moments and images that interest them the most, the opposite is also true if we have a brilliant opening with metaphors and that today (2017) envisions traces of foresight of our future, where the world abolishes the labor system through labor (like the old slaves of the building that sails in the economic sea), to live a financial economy and actions. If this opening frame is mastered and will be device for linking to another chapter, stories like the English army, are ineffective for any analysis of the film. They do not corroborate in any way, and the impression that it causes, is to be an instrument of relief for a previous joke more complex, intellectualized and consequently respire for those who do not understand or for those who are still reflecting. This gap between intellectual laughter and easy laughter will be presented at other times with the same effect.

A memorable moment appears in the chapter, the autumn years, specifically in the "sketche": "The Autumn Years," in which a monstrously fat Mr. Creosote eats wildly and when he receives a small piece of chocolate, he explodes. Something that for us Brazilians is very familiar when we remember Mrs. Redonda, emblematic character created by Dias Gomes for the telenovela "Saramandaia", whose end of the character is the same as that of Mr. Creosote.

There are many good moments in the 1983 film, my favorite is that of a group of pompous dinner guests who are interrupted by the visit of the "Death" (Grim Reaper), in short, everyone who is there will die and when asked why Of so many deaths at a dinner, behold the answer is due to a simple salmon mousse, and the climax comes from the comment of a lady (Michael Palin), who with his unpretentiousness says: "I did not even eat the mousse." This speech is supposed to have been improvised, and because it is so well used it provokes laughter, carries a subtlety that assists in the inquiry not only of the motive of death, but also in the sense of life, where there is no apparent meaning, everything is mere Conditions that are mostly caused by the desire of man.

In the quest to answer the philosophical title which is also the main argument of "The Meaning of Life," we realize that in the end the answer is less interesting compared to the pleasurable process in attempting to answer it. Perhaps the answer of some sense, is the way of the (eternal) search.

In "Adaptation" by Spike Jonze, "Casablanca" is referred to as a masterpiece for those who want to study and create a screenplay, the consideration is made by screenwriter Robert McKee (Brian Cox), and without a doubt: it is.

The 1942 classic directed by Michael Curtiz, goes through the centuries as the reference of the seventh art, mainly for the development of its history, an exquisite script that follows the classic linear structure (beginning, middle and end), and who knows how to take advantage of it To provoke small breaks in linearity, in developing a dramatic history whose past we do not know but which is a fundamental part that interferes with the decisions and characteristics of a character, and an uncertain future, but with clear possibilities. We know the paths available to the protagonists, but which will be the chosen and the reason, this only know at the end of the film. The script is based on the play "Everybody Comes To Rick's," being developed in three hands, by Julius J. Epstein, Philip G. Epstein and Howard Koc. A curiosity is that the text of the piece only got to be mounted (years) later, and the rights to the cinema was one of the highest values ​​paid at the time.

"Casablanca" begins with an ironic narration, close to the comedies that parody wars, and at different moments we have this jocular air in the dialogues of the personages, such as Richard Blane (Humphrey Bogart ) That satirizes its condition of abandoned man or of the transitory condition and of waiting of the great room of connections that is the "airport Casablanca". However, the script makes the slide precisely by wanting to present the external world through flash black, a feature that does not add anything interesting to the film, but is an easy way out to try to clarify important facts of the past, yet something that a script So bright and a precise direction, could have solved with other means.

A thriving feature used to compose the illumination of the film is the idea of ​​a lantern of a lighthouse, which reflects its turn throughout that city, although spatially speaking, the light of this lighthouse reveals that Casablanca is as short as the extension between two open arms , But it is clear the proposal of director Michael Curtiz that with the direction of photography of Arthur Edeson, create an atmosphere of occultism, and that as the characters, we only have vestiges of shadows, they are not clear, as the lapses of illumination , Which little by little reveals something. Another point that contributes to the illumination and photography adopted is the total superficiality employed. We are in a city in Morocco, where sunlight is strong and abundant, but as "Casablanca" was shot in the studio, and also proposes the features of a Superficial city, its illumination is composed of lamps, chandeliers, lamps, glares and lighthouses and rarely we have reflections of the sun. This artificiality is also felt in the direction of art performed by Carl Jules Weyl, who in what would be internal and external scenarios, works with very definite oppositions, in the internal environments we have the richness of details, as in the bar "Ricks Café American" or " Club Owner Signor Ferrari "in these environments everything is very luxurious and grandiose and well explored in open plans or the close detail minutiae revealing a beautiful work of composition of images and Mise en scène.

The soundtrack is marked by the classic "Like the Time Goes By" and La Marseillaise, the national anthem of France. Both gain "status" in addition to soundtrack, become "leitmotiv", and generating some uneasiness, in the third strand of La Marseillaise more than to know that the French are there or that it is a quest to praise France, we know that It is an insecurity on the part of the director to clarify points that are already established as local skin frequented or by the uniforms used by the characters (eg differentiate German soldiers from the French). But the apex of exaltation of the national anthem of France occurs when it is used to provoke the Germans, capable even of uniting the French who are in the Rick café and under German rule.

Humphrey Bogart as Richard Blane, Ingrid Bergman as Ilsa Lund Laszlo and Paul Henreid as Victor Laszlo, stand out individually, and the alien origin of each actor favors the clandestine and migratory game inherent in the film. If separately each actor stands out, the combination in a love triangle works even more, and greatly divides the viewer to the lovable favoritism of Ilsa's character, for both the charming Blane and the heroic Victor are charismatic and with divergent qualities, but Together only complicate yet another position that helps in determining who Ilsa should stay with. None of these characters fall on a Manichean scale to the bad side. Some are cynical, some lie, some kill

The King's Speech is a good movie, but that's it, it does not exceed the limit of a video, it has its merits, but when you think about the possibilities and even the possibilities of the cinema, "the Kings" does not exceed anything .

It is all done on a very shallow scale, a video made to satisfy and respond to the orders of those who asked or even to follow the course of the 2000s, which generated a line of biblio- cinematographic achievements on the reigns, especially the English royalty. Even the performances follow the same rhythm, Colin Firth is fine, but we know of his ability, honestly here, it was not the time to receive his Oscar as best actor.

Geoffrey Rush goes further, which is the great relief of the film, his good character, can follow a rhythm of his own, but nothing more than something great, and we know that Rush is an excellent actor.

Perhaps this strangeness of being only good is justified by the direction of Tom Hooper, who is more accustomed to television accomplishments, which we can check in "King ...", not only because it is a closed script in internal locations, with a lighting Very clear and at the same time very artificial, but mainly for punctuating plans and against plans, a simple work almost lazy that the TV uses to simplify to the maximum and make clear what is talked about and with whom one talks, not opening spaces for Reflections and possibilities.

Apart from this the scenarios, especially where we have the presence of the character "Lionel Logue", is a clear reference of old age and decomposition that conversely give beauty to the film, however, Hopper (specifically close to the characters seated), abuses in wanting to present Such scenarios with cutouts that even work, but that used too much, tiring and only show that they are there like figurative form of a little explored world.

The uncertainty of any definition for "Caro Diario" is what makes it so special. A documentary? Film? An autobiography? A narcissistic record? Maybe a little bit of everything, but at the same time denying it all.

Speaking about "Caro diario" only loses for the pleasure of watching the film performed by the Italian Nanni Moretti in 1993. Morreti is already referenced a few years ago as a representative figure of the new phase of Italian cinema. I confess that I had only previously watched a Morreti film, being presented to the director through his Italian classes, and in which we watched "Habemus Papam" in 2011.

"Caro Diário" is a unique work that is done through three episodes with an autobiographical character and in dialogue with the documentary. Moretti could run the risk of doing something dangerously narcissistic, but by having a look, writing and personality so interesting, "Caro" turns into a jocular free movie to mock its own author, from His homeland, his friends, the public ... The mosaic of the world that circulates Moretti is so true that in several moments the reciprocity and familiarity of situations not only cross the protagonist of this story, but also the one that watches. As, for example, we do not identify with the inability of physicians to listen to their patients, but, in contrast, the doctors' ability to speak and recite medicines that do not help our illnesses, especially in Responsibility for healing.

References are not always pleasant, as they generally tend to reduce the merit of people, in the case of Moretti, is sincere how much Woddy Allen inspired the director or is only personal connections of the public, since in various moments of the film, we have Memory and familiarity of typical approaches to Allen's autobiographical films, such as his direct narrative, his insertion as a man and character, his sarcastic comments, the division of chapters using nominative posters, the ability to laugh at himself, and endings that always follow The opposite of expected or desired.

The use of a soundtrack that at different times is something that arises externally, and that ends up influencing or creating moments of the music itself, a dialogue between character and melody, work excellently and much say of the relation and influence of Latin rhythms or Of old songs in Moretti's lineup. One of the most beautiful moments of the film is Moretti's homage to Italian filmmaker Paolo Pasolini, a motorcycle (scooter) to the place where the director was murdered to the sound of Korn's concert Keith Jarrett.

The wasp: vehicle for only one person. The island: a metaphor for the individual, solitude. The doctor: professional who takes care of the body of each individual; Every very particular body of each person. The titles of each part in which the Daily Diaries divide are, in some way, a notion of the individual, of the particular, as a diary also does. Here, however, it is not an intimate narrative: Moretti may be egocentric, but this does not make him self-absorbed. His idiosyncratic, peculiar way is, in fact, a way that could be anyone's; We notice it in Moretti simply because he exposes himself.

Both the photography and the lighting are punctual, not going beyond what is necessary so little innovation, in the specific lighting is notorious the use of natural light, which greatly collaborates in the creation of a documentary and biographical character very close to the street documentaries or programs The first chapter, which uses an interesting camera work, both for the movement and the break of open and closed plans, this first part, refers very much to the television programs, which usually Present the neighborhoods of a large city through a personality.

"Caro diario" is mainly a conversation between the director and the audience, which creates an opportunity for intimacies that we can rarely experience, either through documentaries or the various film genres. A film of sensitivity even when dead seams, even when it is set inside out. A diary that we help to write and that certainly is a pleasure to accompany. Congratulations Moretti!

By embodying in a woman the archetype of an idealized France, Renoir, positively expands the perception of the feminine role, issues already evoked and debated in that period of the fifties, but that Renoir, inserts in a farces France of 1890, about to live a blow Where Elena (Ingrid Bergman) is the muse capable of influencing General François Rollan (Jean Marais), and consequently changing the political directions. In order to move this turbulent relationship further, there is the figure of Le Comte Henri DE Chevincourt (Mel Ferrer), who falls in love with Princess Elena, tries anyway to keep out the possible opponents of his love affair, something not simple for Henri, since Elena Is a poor finance widow, but rich in candidates for a new marriage.

"Elena ET Le's hommes" already begins with a comical and embarrassed request of marriage of Martin-Michaud (Pierre Bertin), suddenly refused by the Princess. In this first "take" we are already inserted in marks that have made the work of Jean Renoir singular and prosperous in the cinematographic grammar. The play with windows and doors (perhaps inherited from the theater and the circus spectacles), the effects of cutting in planes and against fields, working with depths, but without adding something new, Renoir more than inventing, I knew, mainly in this Delimit the necessary number of resources to tell a story.

One reason why Renoir is regarded as a modernist is that many of his films have a looser narrative compared to the typical Hollywood films of the time, Renoir's plots were generally less structured and more open to the digression, which would become The dominant mode of European art films from the 1960s, but Elena and her men unfortunately are not. The great cast and the need to follow historical events closely together give the film a much more complicated story line, which is much less open and enjoyable than the other two. The only excursions that Renoir allows himself are the many scenes of farce, but framed in a contained, even bland laugh, due to the novelty nothingness of the jokes. Renoir thought it would be fun to see serious actors in scenes that were pushed to the point of absurdity, but forced humor attempts do not work.

Elena, while occasionally suggesting that the state of the nation is at stake, represents more a theater of the heart than a theater of war, and Renoir seems determined to move completely out of the domain of realism, but contradictory it is on that road he prefers The opposite of what is suggested by the prophetic shadow of wars or battles there is a palette of vivid and colorful colors, for the battle here is of love, as it is phrased in the film "In a country where the Love, there is no room for wars. " In addition to the colorfully used to counter the proposals of a war movie, its importance is also in the perspective of an archetype of the protagonist of the film, Elena is a contrary joyful widow, although all the adversity of his life still maintains traces of the freshness of youth , The joy of better days and the sensuality of colors, reflected in their costumes and the colorful composition of the paintings - excellently captured by the photograph of Claude Renoir, nephew of Jean Renoir - paintings always ornamented with flowers, a spring and Utopian's France , Considering the events of the past and the threatening future.

Curiously it is with a flower (daisy), that Elena presents General Rollan, claiming to be a lucky charm. Among the many symbolic that this flower evokes, the most interesting is the wisdom to use as a resource to promote links, since the general, for various reasons, always loses it, and the repair of this amulet only occurs when Elena offers another , That is, Elena herself is the lucky charm. The good things that happen to the general and consequently to France occur when Elena is close to the general. A second curiosity is that 14 years before, in the movie "Casablanca", it is also with a daisy that Ilsa Lund Laszlo (Ingrid Bergman) presents Richard Blane (Humphrey Bogart), and with the same effect of an amulet that finally gives luck, But can not promote the bond between the characters.

A sum inseparable from what nourishes the film is the quality of its actors, especially when considering the little experience or familiarity with comedy and or farce. Ingrid Bergman as Princess Elena Sokorowska is a ladder to various comic moments, but rarely can she produce comedy of her own, which is not a problem in the film at all, her princess turns out to be moments of female freedom, sensuality and action leader. Jean Marais as Gènèral François Rollan is also more ladder than comic, but he punctuates his general and the love triangle with Le Comte Henri DE Chevincourt (Mel Ferrer), but the high point of the comedy is in the characters that appear to be, a A reference to characters such as the harlequin, Pierrot and Columbine of the comedian dell'Artie, depicted in the film by Eugène (Jacques Jouanneau), Lolotte (Magali Noël), the princess' maid and Hector (Jean Richard).

Although the use of Renoir's misc en scene is as interesting as ever, and the positive performances, this is possibly his least interesting film. For, it generates a superficial and less enveloping tale.

The kaleidoscope of metalanguage presented in the film, are presented and used with mastery, either at the beginning of "Adaptation" which is linked to the term "Being John Malkovich", both directed by the distinguished Spike Jonze. Still on metalanguage, which is about an adaptation of a book to a cinematographic script, which is created simultaneously with the film itself, ie a film about itself, as a joyfully self-referential exercise of self-deconstruction. But it is also, more profoundly, a film about its own non-existence - a narrative that confronts both the impossibility and the desperate need to tell stories provokes our expectations of coherence, plausibility and fidelity to the reality lived.

There are variety of games presented in the film are dominated by the restlessness of knowing what is real what imaginary, what in fact thinks Charlie Kaufman, movie roter and what in fact thinks or thought Susan Orlean, when writing the book "The Orchid Thief "that inspired the film. What script rules are actually followed, ignored, and subverted? And that in the film are presented and worked through the figure of the writing twins Charlie Kaufman / Donald Kaufman (Nicolas Cage) and scriptwriter Robert McKee (Brian Cox).

So well adapted to this story are the actors, who in addition to acting are guides who invite us and lead us to organize the fragmentary data of the film. If in the figure of the twins writers we have two sides of the same man, and that in "Adaptation" is referenced like the opposites of the same figure of a policeman and a bandit, where both are complementary. If the script uses these two men to present the diversity of the same man, we have in Susan Orlean (Meryl Streep) the perfect adaptation of the divergences that fit in a single person, of how human and fragile and volatile and how the process Of adaptation of a person is not necessarily followed by completely philosophical or psychological questions, are in the measure, impulses of an immediate action. The character Susan surprises with her abrupt change in the end and unpredictability of her attitudes, though consistent, without script or construction failures.

The use of the pace in "Adaptation" is undoubtedly an important and necessary point to tell this story, Jonze with his experience in clips and series for MTV, was able to absorb the freshness of a stormy pace that assists in the complexity of moments lived by Charlie and Susan or in moments of lull and mockery of Donald's life as well as in the great final Match Point, a frenetic, accelerated jab of actions and images, but which unfortunately comes out too much, unnecessary, in trying to present solutions that lead to an outcome.

At first, Charlie's overly self-conscious and pseudo-intellectual crises are fun as we recognize the same tendencies in ourselves. So we also feel his yearning when he is so touched by a book that it looks like it could be the catalyst to kick him out of his narcissistic lifestyle. That is, until Kaufman reveals his great epiphany - that even after enlightenment, life is still cheap and dirty. What is not true or absolute lie, but turn into two hours of a film, where director and screenwriter apparently dialogues with each other and the public is the passive stance to accompany their discussions.

"Drama" is the first film by Matias Lira, Chilean director with previous work in theater and TV. The starting point of the story is a trio of friends, theater students and who, influenced by a teacher and the method of the French theorist Antonin Artaud, begin to look for real situations and emotions in order to bring them to the stage. The obsession with becoming better actors leads them to know their darkest sides, overcoming limits that they and their teachers could not foresee.

In using the play theatrical, the director provides an interesting approach to what would be the reality and the fictional life, this in the film unfolds in moments of oscillation and an investigation of the public in order to establish in which world the film is transiting, At the same time, that this does not make a great difference, since the metaphor itself is reframed to indicate that it is real or fictitious, what we have are people who in both worlds lie and interpret.

To add to the theatrical play, Artaud's method is added, and perhaps the film also draws on other aspects of the French artist, such as his anarchist ideas and flirtation with surrealism. However, the partnership ends there, and perhaps if it followed Artaud's postulates, "Drama", it would be more successful as a filmmaking. For example, Artaud rejects the supremacy of the word, since the film is only resolved through speeches and dialogues, still according to the French, there would be no distance between actor and audience, everyone would be actors and everyone would be part of the process, Already in the film we have made clear the separation between the central story of Mateo (Eusebio Arenas), who takes on the role of protagonist and where all the other characters are elements stuck to moving his story.

Another aspect that generates noises between the speech presented by the actors of the film and their actions is that, deep down their artistic aspirations are driven by the most hypocritical vanity, it all boils down to a game where one tries to trick or challenge the other, Or in fictional and theatrical life. They are young actors who oscillate between the duties of an approaching adult life and the sheer tantrum of a child who can not stand being contradicted and is not allowed to be mocking. A contradictory life taken too seriously by actors and on the other hand the irresponsibility and jocosity of facing the duties of adult life.

A major aspect suggested and not followed by the film is the Artaud proposal of the Theater of Cruelty, a way of criticizing the culture of the spectacle and the very form that Western society viewed the world and proposed the unification of theater and life. This union between theater and life is approached in "Drama" through the exercises proposed by professor Dante (Jaime McManus) to his students, and that in the film serve only as background, a situation to understand the personality, the fragility, the Fears and traumas of the characters. The problem of this solution that would have everything to be a good script solution is that the reality of the actors in the film are fictitious, in the sense that only Matthew's past is a real torment, in the rest his actions in the daily life, in the Future and the lives of his friends Ángel (Diego Ruiz) and (María) Isidora Urrejola, only settle with forged situations, to give some courage in mediocre and uninteresting lives. As in the situation in which Ángel forces an attempt of prostitution and thus to win the bet of Mateo and later to demand something to him, that perhaps it is a kiss or something more.

Of course, the film is not intended to be a defense of Artaud's ideas, much less promises to be an audiovisual form of Artaudian practices, but it is a very refined background to a hollow story, and this is impregnated at various times Of the film, where the suggestion of things is much greater than the realization of something, the relations to conflicts and possible solutions, everything is very superficial. Still, the triangle proposed more never materialized is interesting precisely by the non-concretization, between the triangular superficiality is more the public's desire to see something, which is a lack of who assists and not necessarily a duty of the direction, that is, the Film at no time presents a real problem in the triangle between these three friends, but at various times suggests individual desires that cause and suggest unresolved issues between them.

If we analyze the title of the film with its meaning we will have something like a fictional text, play or movie of character "serious", not comic, that presents a development of facts and circumstances compatible with those of the real life. Fiction merges with reality itself, and experience becomes stifling as the script plunges into each other's perceptions, their conflicts

"Autumn Sonata" (1978), was the last film made by Ingmar Bergman for the cinema, which happened after this were videos for the TV. However, in the last film is not sketched any nostalgia, on the contrary, it is a reunion there are several characteristics that marked the famous Swedish director.

Such as his strong relationship with the theater, with the actors, the use of symbols and metaphors, the simplicity of his locations (which he turns into a great advantage), the psychological character in formation and human relations, striking and challenging women , The expressiveness of a face in its close's and big close's and how much it speaks or even shouts moments of silence, moments when not verbalizing suggests so many things. As in the scene where Eva (Liv Ullman) plays a few notes on the piano for her mother, Charlotte (Ingrid Bergman), a magisterial and anthological moment, in the force and expressiveness of two actresses who say nothing on the scene but suggest a universe Of rivalries, misunderstandings and anguish in a (non) relation of mother and daughter.

Autumn Sonata "is a tragic burden of human emotion, and is mostly a drama of confessions between two women, who dialogue with each other, which ends up generating a certain monotonous production noise, especially by the subtle clash of the Seem to dominate much of the film, which may have been elaborated in an attempt to generate a frenzy in the audience for the climax, which is not necessary or even does not work, because in the invitation letter written by Eva and In the opening monologue performed by Eva's husband, it is already clear that there, it will be a place to settle accounts.

In addition to its musical allusion, the film's title keeps track of another central point: the idea of ​​ seasons and cycles. It is clear the reference of this change of seasons in the photograph of Sven Nykvist who collaborates with his pale and washed palette and without great dependences of the artificial light, lamps and candles, call attention to the cold of the winter. However, in what seems to be a contradiction, many of Nykvist's scenes are garlands with flowers. They appear in dozens of scenes. Normally associated with spring, the presence of flowers is a clear reminder of the cyclical nature of life and our relationships with others. The cold will pass, suggest the flowers, we only have to endure this during the winter.

Filled with distressing emotion and agonizing eyesight, "Autumn Sonata" offers a methodically potent examination of the pain we choose to keep inside, and the scars that remain with us as a result. Like most Bergman films, the image is replete with existential questions and gloomy reflections, deeply investigating the mysteries of the challenges inherent in life, and depending on the interpretation, the ending may offer some level of optimism and catharsis, the film's elegiac mood And almost impossible confessions of hating and indifference remain irrevocably haunting.

Another feature that Bergman has always been able to use, was his complete understanding that in the end, a film ends up always being the actors, they are the face and the memory of the film and they have the capacity to generate reciprocities with the public. So, Bergman is undoubtedly the director, but in the end, are Liv Ullman, Ingrid Bergman and Lena Nyman who play the Sonata.

Ingrid Bergman: In Her Own Words, through her own title, wishes to give the main idea of ​​the documentary, besides a posthumous tribute made by the person who is alive, her desire is that the central figure (Bergman) Own and pictures too. Such images were, therefore, a confessable passion of the actress, who manifested herself as a child when her father recorded her daughter on a daily basis.

After her father's death, Ingrid continued the records on her own, altering only the order of her captures, it was she, who now assumed the records of various moments and of the various people she met in her life.

Directed by the Swedish Stig Björkman, the documentary partially fulfills its promise, and the reason is soon unattainable, since without the presence of Bergman to talk about his life and also by the focus that the actress directed his letters and his diary, almost was little About his career, about his work and what causes a certain astonishment, since this was notoriously his greatest pleasure and where he felt happier. His records were largely concerned with the death of his mother and his brothers at an early age, and of the only figure he had left, but also of his father. Then his records are focused on the love life followed by the life of the four children, these being, figures that add a great part and time in the writing of the actress.

Thus Bergman's words presented through a rich collection of images and home movies, is the strongest and most interesting element of the documentary, which extracts through interviews, archives and diaries of the Swedish star, the voice (own) Of the figure-character.

The lack of any significant research on performance styles is appreciably felt, particularly due to the very different methods of its principal directors: George Cukor, Alfred Hitchcock, Robert Rossellini, Jean Renoir, Stanley Donen, Ingmar Bergman. There is some slight personality analysis - she was led, she was shy, "love came through the lens of the camera," she was brave - and the four children painted an attractive portrait of her largely absent mother. However, the psychological depth, Bjorkman, maker of documentaries like "Ingmar Bergman" and "Lars von Trier", barely goes beyond the level of a portrait of the Channel Biography. As such, Bergman is actually very difficult to read, and we are drawn to it even more because of it.

With so much reference material at his disposal, Björkman can not overcome this mystery entirely, but what he does quite elegantly is to explore the mixed feelings of these four surviving children, all of which make it clear how fun it was and also give Light for the mother's felt absence at the desire of the actress in love with the craft.

Perhaps there is nothing radically new to those with some knowledge of Ingrid Bergman's story of many other biographical TV portraits, but this is still a worthy door-to-call for all the curious about one of the greatest icons of cinema.

Among the outstanding features of cinema produced in the late 1990s is the mark of a thriving period in psychologically epitomized films depicted by alter ego figures and "symbologies" or by using borderline, bipolarity, and personality disorders. Not that this was a novelty in film history, but films from that period such as "Fight Club", "Raising Cain", "The Sixth Sense", "The Others" just to name a few films that are still striking in a new direction Which require a specific alignment in all areas (script, lighting, direction, actors, sound, photography, etc.).

Considering the degree of complexity of this style of films, where in the end the public is faced with a multiplicity of personal understandings and constructions, I believe, in the importance of the trajectory we follow, terms or we count on an instrumentation provided by the script, that helps in filling Gaps and even not having the pretension (which is already too pretentious), of not helping in this, giving greater freedom of interpretation or rational disagreement, in years aspects, it is necessary (to have) understanding. What is the point of doing something that does not allow dialogue, which does not want to be understood, even if its understanding is by denying it?

In Buster's Mal Heart movie directed by Sarah Adina Smith, we come across a highly fragmented story, and that needs to be so, because, also fragmentary is also life, or rather the lives of the protagonist of this fable, Buster (Rami Malek) . So we have the approach of a man from the mountains, the hermit; Of a shipwrecked man with analogies to the biblical stories (especially Jonah and the Whale), and Buster, a young father who works at night as a hotel concierge, and in Buster's story, we will have connections to the others Lives and many others that arise during the film, including that of a nameless unknown (DJ Qualls), who appears to be a prophet of the cyber- era and who is so intimately connected to Buster.

Buster's Mal Heart is a film that even seeking to break with the structure of three acts, with linear narrative, even being a mix or copied fragmented lives, does not compromise in anything the construction in search of an understanding by the public, In each fragment or blink of a life, instrumental sum with points that will collaborate in the points of turn, in the Plot twist of the film and the insertion of the life of Buster.

The acting of Rami Malek as Buster is flawless. For fans of this promising award-winning actor in the TV series Mr. Robot, the film also serves as a strong appreciation for Rami's work, as both in the film and in the series we have the similarities of a displaced character from the real world, Personification of an alter-ego and with a thousand conspiracies in the head.

"Actor's Revenge" only fails to extend times that do not collaborate for its construction, generating two underworlds. In the first we have the scenes of action and revenge in a world full of frenzy, in another, we have the oscillations of character, the questionings and a whole insertion of poetic images that take much of the film and give it a contemplative rhythm and consequently dragged, But both underworlds are linked by the precise performance of Yukinojo (Kazuo Hasegawa), who is divided between an actor specializing in women roles of the Kabuki Theater and who wishes to avenge the death of the parents. And as second character, a pickpocket, a thief.

Kon Ichikawa, a famous Japanese director, known for his meticulously perfectionist but commercially fruitless films, was commissioned to readjust the novel Otokichi Mikami, and consequently, along with his wife and frequent collaborator, screenwriter Natto Wada, transformed what would be a Banal melodrama in a delirious, highly stylized and idiosyncratic spectacle.

From the outset, Ichikawa's irreverent and sarcastic mood would set the infectiously playful but stylistically audacious and self-assured tone of the kitsch eccentric fusion of high-end art and pop culture.

"Actor's Revenge" is a stylistically daring and irreverent satire that seeks to reconcile the familiar and traditional elements of native culture with the modern vitality of Western influence in contemporary Japan. Recurring fragmentation of Ichikawa's images reflects the voyeuristic relationship between the spectator and the artist: obscure and prolonged battle scenes, witnessed by rooftops, seamless visual transitions between theatrical dramatization and stylized, "real life" episodes, the framing of Actors through doors or other visual occlusions that seem to underscore the intrusive view of the public. The old-fashioned script for the tragic melodrama (shimpa) popular early in Japanese cinema is infused with irony, social satire, and dual-minded visual subversives.

The eccentric fusion of traditional and modern Japanese art forms is exemplified by an eclectic soundtrack that combines traditional accompaniment of kabuki, folk music, jazz and avant-garde ambient sounds.

Reviewing "Zorba" is always a pleasurable invitation. Personally, it is a film that brings back several memories of the most diverse phases of my life. The most admirable thing about the film is its simplicity inherited from neo-realism, something almost impossible to see in today's cinema, and probably by the characteristics of our individualistic generation. The paradox in "Zorba" is in its simplicity traits that gain a splendid dimension. Everything is so well done that even slips end up being irrelevant, though they exist. The film's occasional mistakes may be characterized by the adaptive relationship of Nikos Kazantzakis's novel with the script and direction signed by Michael Cacoyannis.

By fragmenting a moment of life between the meeting of the young Basil (Alan Bates) with Zorba (Anthony Quinn) through the relations of work, companionship and ending with the farewell of these friends, we have in this fragment of moments, insertions in style of chronicles of the Life that do not always punctuate or construct relations, besides, by centralizing the film in relaunching between these two friends, we lose, and in total merit by the artistic and interpretative quality, very interesting figures like the brilliant Madame Hortense (Lila Kedrova), the Widow Irene Papas) and the crazy / silly city (Sotiris Moustakas). In addition to all these characters, add the inhabitants of the village of Crete (where most of the history goes), which oscillate between a great chorus of representation of the local inhabitants and at other moments, this mass of the population obtains the prowess of being the Protagonists of "Zorba", influencing in the plots and determining situations.

Perhaps the weakest point of the script, in the non-relationship in particular, with the women's history of the film, the widow and Madame, both seem to be a resource to symbolize, a specific love relationship in the life of the two friends, but Are only one in front of the others that have already come and the others that will still come, by the way, the film provides few clues about the past and even fewer about the future of the characters Zorba and Basil, which is not a bad thing, if there is something That neo-realism clearly points out, is the coming and going of stories that cross us.

A special highlight for the photography of Walter Lassally and the art direction of Vassilis Photopoulos, both deservedly awarded the Oscars in their respective categories and which are striking to this day, a true composition class and artistic feature, the reflection of this is remarkable also Quality of the movie.

One aside that is necessary here, is for the quality in the work of all the actors, indisputably excellent, with special attention to the female performance and in great prominence, Anthony Quinn, an undoubtedly enviable actor. When we know a little about the story of this Mexican actor, who was boxing fighter ... finally, when we know a little more about his life and career, our chin falls and we are even more admired for his work. Quinn, performed in "Zorba" a rare feat for many other actors, composing a timeless character, which until today is referenced and revered. Without doubt, a brilliant work by an equally brilliant actor.