Inarritu post Arriaga, so you could frame it by the Mexican director without his writer's confidence, which is also the past director, which puts in place a film trying to build less structured and more of his previous works, the looking for a linearity that does not mind, however, its geometry, as simple as that is the circle, with strengths and weaknesses notwithstanding that it contains the idea of \u200b\u200bperfection inherent in this form.
The director delves into the pain of his hero and a city view from its margins, its suburbs, risky film that goes into these depths, which could come across in the picture postcard from hell and possibly so it might seem in some ways, even if effective Bardem is an actor, who can face take on himself the signs of pain and suffering, sorrowful figure apparently destined to roam aimlessly in Barcelona almost unrecognizable.
seems to give up certain games as they were called to assembly as in his other previous works, but still retains its style careful in describing parallel stories destined to cross, which now show here their addiction and their specific binding, with no games or twist of fate, trying to represent life in its fluidity and its intersections and human connections, even if a certain symbolism, a propensity to look towards death is inevitable and ubiquitous in his films.
Film disturbing and hurtful, which tends to the accumulation of elements, factors, histories and pain, this time seem to be a catalyst in the single player Bardem, a ghost living conscious of their fate and unable to accept sense of paternal love that binds him to his loved ones.
Inarritu not hesitate to represent us and tell us all this, not hide, even though certain formalities more or less noticeable, but perhaps denoting a satisfaction that there has always been in his films, then more than now, but still present and that should be sanded or dried up as the story itself, which tends to exceed and perhaps spill over into a functional length author to express the pain of its protagonists and force the viewer to confront it, but how consciously?
The authorial quirks that seem to sense traps are difficult to remove and which may be a limit of his films, though apparently set aside his former screenwriter Arriaga, but who are still peeping in his directing style and narration, and then need to understand if after this Inarritu will tell us more more vividness, even without overflowing actor, but in a positive way for the actor himself, as Bardem.
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