This post is a mix of things, first I got curious about all three movies that link to MONARCH TV series

• Kong: Skull Island
• Godzilla (2014)
• Godzilla: King of the Monsters

By the time I made my first post about this new Monsterverse TV series I had only watch the latest Godzilla movie, Godzilla: King of the Monsters and it was very good in my opinion for the time, when I say for the time I mean there was not much interest on Godzilla and I would say it was one of the only movies when Godzilla and other monsters/titans show full body, clear image, during daylight because let me tell you this is the love and hate relationship with this movie, IT FUCKING SUX when it comes to showing Godzilla and the two other monsters in it that no body knew what the hell they were, my hope is that MONARCH make things right bringing a good story, few side stories from secondary characters and clear full body scenes from the monsters with details about from where the hell they come from and what type or category of monsters they are.

I could not post images of some of the scenes because they were dark as hell, even with my vr setup I had a hard time in a few occasions to identify the monsters and tell what was going on, I didn't watch the movie because I'm a Godzilla fan, well I think I'm becoming one now; mainly watch this movie and the others because MONARCH is suppose to tie them up all together and that to me is interesting.

IMDB: https://www.imdb.com/title/tt0831387/ RottenTomatoes: https://www.rottentomatoes.com/m/godzilla_2014 Platform: Amazon

It's interesting to see Tomatometer higher than the audience score, usually is the other way since the Tomatometer reviews are more harsh and professional meaning they might find and criticize a few things regular viewers like me wont, to me it was a 6.5/10, so I agree with a 66% or acceptance, problem with audience score is that there is always someone who shits on the score giving a 1/10 to that screw everything up for the average ratio, between 6 and 7 is fine but no more than that.

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It feels very refreshing to watch this movie after watching a few episodes of MONARCH since this are the very same images and this is episode two, when they try to use a bomb to lure in Godzilla, at first the deal was to bring him close to the shore to study him, proof it exist but the ARMY decided to destroy it, detonating the bomb when it was close enough, after all they were funding MONARCH but no body expected Godzilla would survive the explosion absorbing all radiation so making the TV Series match exact scenes of the different movies is very cool and what everyone was expecting I think.

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The movie starts with Dr. Ishiro Serizawa and Vivienne Graham, at first I confuse Ishiro with Hiroshi from the TV series but they are not the same person, Ishiro was way before Hiroshi although the MONARCH founders do not appear on this movie, Dr. Keiko and Bill Randa, see where I'm going with this post, I'll be making reference to both the TV Series and the Movie like telling you watch the movies before the TV series.

Ishiro and Vivienne got a call from something they have found on a mine, inside a cave there was what look like a cocoon, there were two of them; but one of them was recently open and what ever came out of it left a huge hole on the side of mountain and a long trace, look like it either took off or got into the ocean, all this inside a way bigger skeleton probably the thing that put them there, Dr. Ishiro confirm it has to be a titan since there was a trace of radiation, second cocoon was inactive so they took it and put it a warehouse with other nuclear waste, stupid idea.

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Next there was the couple of Joe Brody and his wife Sandra Brody who had kid name Ford, latter on Ford turns into a bad ass, Joe and Sandra work at a nuclear plant in Japan, sensors at the plant has detected some signal, they think its an earthquake but its not, this signal is important to the story because is what so far everyone recognize as the first indication that Godzilla might show up, what they call the signal of G day.

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The Brody's story is one of the cool things about the movie, they give it proper continuation and closure, when Joe detected this signal it was too late, the titan was already getting closer and the target was the nuclear plant, it was after the reactor, Sandra was a technician at the plant and in this case she was in charge to check there was no breach, again too late, worst part is that Joe had to close the door on her to avoid all that radiation to come up and watch her die, same time young Ford had to watch the nuclear plant collapse very close from school.

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Ford latter on gets into the army, went on his first tour, had a wife and a kid, I feel Elizabeth Olsen aka Wanda Maximoff aka Scarlett Witch, mf hottest women on the MCU, could had a better part on this movie, she is a great actress in my opinion, she was Ford's wife.

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After the accident in Japan where Joe's wife died he got obsess with the what and why it happen, they were taken out of Japan with the excuse that it was not safe because of the radiation, several times got arrested for coming back and Ford had to take care of him but he agree to go back one last time to help his father finish this, no surprise to Joe there was no radiation, it was all a lie, he also found old 3.5 inch disks, those things are so fragile; kept saying in there was all his data, come on by the time he came back and the bad environment those disks were trash.

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For years after the attack the titan stay in a cocoon stage, so probably when it escape the island it didn't had wings that's why it left a trace on the ground and after it absorb all the radiation at the plant started his evolution.

Dr. Ishiro had a program where they were studding the cocoon, the reason MONARCH exist is not to kill this monsters but to study them because there is way more to know about them, specially where they come from, Joe and Ford got arrested at the base and while all this happen the monster got out of the cocoon and escapes but Joe got hit by a crane in the process and latter on dies when he was taken out of the island.

Here is when things start to get salty, fucking monsters are always on a very dark scenario, it was just a few times that I could get a proper screenshot of the monsters.

Military gets involve when the monster at Japan got out so they were tracking it down, they were not the only ones, Godzilla was also tracking down this monster so they met each other at sea where Ishiro insisted the Marine to leave Godzilla alone and let them fight, in the process cities would be destroy.

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In fact the bat-type monster attack Hawaii in the process of meeting with the female monster of the same specie, it was a mess all scenes were so dark, to give you an example this were probably the only clear shots from the monsters I could get from this fight scene, most of the fight scene become irrelevant as you cant see shit but then there were few moments specially from Godzilla that compensate things so imagine the roller coaster of WTF WHY SO DARK, CANT SEE SHIT!! and then HELL YEAH GODZILLA IS A BEAST!!!

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Remember how I mention it was stupid to put the second cocoon next to nuclear waste? fact it ate all the fucking nuclear waste absorbing radiation and getting huge stupid size to the moment the make bat monster was fully grown, this second monster escapes from the warehouse inside a mountain in Las Vegas to now meet with the male, destination San Francisco.

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This are the scenes that I mention that compensate, form the monsters, it look like it was on porpuse, like it was a budget thing, first was the attack on Hawaii that was dark as fuck, couldn't see a thing on top was at night, then when they arrive San Francisco everything was grey including the bay area like it was about to rain, I get it that when they started to move inside the city there was a lot of dust in the air from all the buildings that were getting destroy so is the part of the movie that compensate all the other dark scenes, although it is about to get WORST.

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This is another killer shot, army send out soldiers to disarm a bomb that they were going to use against the monsters but its now on the city after the male bat got it, that's the scene where it dive into the ocean grabbing the bomb from one of the army ship, soldiers jump from a plane with red flares, clouds of dust form staying below the sky so there was a air gap and all the red lines falling from the sky it was sick, another point for the movie, its going to fucking need it.

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WHAT IN THE FUCKING HELL, this is when you end the movie so pissed off at it, the entire fight scene at San Francisco was so dark, sometimes gray some times just dark but in any case you could not fully seem them fight, obviously Godzilla kills both of the other monsters but as you can see on the image above before he killed the female Godzilla grab her by the head and shoot radioactive blue flames inside it melting the rest of the monster ripping its head off, bad ass ten seconds but over all very very very crappy fight scenes in my opinion.

If I had to split the movie into two parts, I could say that 50% of the movie was very cool with the clear monster shots, the soldiers falling from the sky, Joe quest to find out what really happen at the nuclear plant was very interesting, if you have watch MONARCH you would notice that it does makes sense with the Movies, there is continuation so for me it was not that bad because this movie was informative and entertaining but if MONARCH didn't exist and I only watch it or say went to the movies I would end thinking that all Godzilla movie sux and its piece of shit, it is not but it would be my first reaction probably after half of the movie was dark.

Hace días por fin se estrenó el primer trailer de "Furiosa: A Mad Max Saga", un spin-off que también es precuela de la exitosa cuarta película de esta franquicia conocida como "Fury Road"; un film que se ha convertido en uno de mis favoritos de esta saga de historias que se desarrollan en un mundo apocalíptico y que todas tienen como protagonista al Guerrero del Camino, a "Mad Max"; justamente con el estreno del tráiler se me hizo imposible no pensar en volver a ver la ahora tetralogía de películas, en especial una versión que según he leído era un sueño del director George Miller, me refiero a realizar un film en dónde se relate una de las historias de Max en Blanco y Negro, una oportunidad que no dejó de pasar con la exitosa y aclamada "Fury Road".

Days ago was finally released the first trailer of "Furiosa: A Mad Max Saga", a spin-off that is also a prequel to the successful fourth film of this franchise known as "Fury Road"; a film that has become one of my favorites of this saga of stories that take place in an apocalyptic world and that all have as protagonist the Road Warrior, "Mad Max"; just with the premiere of the trailer it became impossible for me not to think about seeing again the now tetralogy of films, especially a version that I have read was a dream of the director George Miller, I mean to make a film where one of the stories of Max is told in Black and White, an opportunity that did not miss with the successful and acclaimed "Fury Road".

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En el 2015, año en dónde se estrenó "Fury Road", de manera inmediata se convirtió en uno de mis favoritos; tuve la oportunidad de ver esa película junto a mi hermano y mi padre en una sala de cine, fue como un cierre del círculo en dónde el padre te enseña a valorar películas que relatan historias de un mundo que comienza un deterioro social lo cual crea a personajes crueles, viles, completamente locos que se enfrentarán a alguien que también ha perdido completamente la sanidad mental y justamente, después de pasar tanto tiempo, nos tocó a mi hermano y a mí llevar a mi padre a ver en qué se había convertido ese mundo y que representa o como evolucionó ese extraño héroe; este breve relato de un buen recuerdo es para demostrar mi apreció a esta franquicia la cual en sus cuatro películas vemos como es la evolución de un personaje y de la manera de relatar su historia, siendo esta última lo que considero su punto más alto.

In 2015, the year in which "Fury Road " was released, it immediately became one of my favorites; I had the opportunity to see that movie with my brother and my father in a movie theater, it was like a closing of the circle where the father teaches you to appreciate films that tell stories of a world that begins a social deterioration which creates cruel, vile, completely crazy characters who will face someone who has also completely lost his mental sanity and justly, after spending so much time, it was my brother and me to take my father to see what that world had become and what it represents or how that strange hero evolved; This brief account of a good memory is to demonstrate my appreciation to this franchise which in its four films we see how the evolution of a character and the way of telling his story, the latter being what I consider its highest point.

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Ocho años han pasado del estreno de este film y me alegro de que la espera no fue tan larga como ocurrió anteriormente para ver nuevamente a ese mundo devastado, sediento de combustible y ahora de agua, un nuevo relato, una nueva producción dentro de esa franquicia revivió mis ganas de ver lo que todavía es el último film de la franquicia, pero no la versión real, me refiero a conocida como "Black and Chrome", una versión en blanco y negro que puede considerarse como un capricho de su director, pero creo que fue una oportunidad de hacer que el espectador pueda enfocarse en la historia aparte de las coloridas y épicas escenas de acción. Creo que filmar en blanco y negro propone un estilo elegante al film, esta es una opinión recurrente y muy personal de mi parte al ver este estilo de film en estos momentos y es que me da una sensación de estar viendo algún clásico del cine, algo de antaño sin importar que sea una producción del 2015.

En esta versión mis expectativas estaban enfocadas en las escenas finales del segundo acto las cuales son las más oscuras en todo el film y por supuesto en todo lo que es el tercer acto y final, pero debo decir que me sorprendió las escenas en dónde se comienza con la persecución a la que siempre considere como la principal protagonista, me refiero a "Imperator Furiosa"; justamente el estilo de blanco y negro la hace ver como un film de antaño o por lo menos ver el estilo de como Miller filmó "Mad Max" a finales de los 70', lo predilecto del color gris hace resaltar muchas escenas en la persecución en especial al momento de comenzar la tormenta de arena y posiblemente esperaba que no se viera bien, pero la realidad es que hay escenas que funcionan muy bien; de ahí en adelante, las escenas nocturnas funcionan, seguramente por lo breve, pero el blanco y negro creo que las hace ver mejores, se disfruta mucho más las imágenes del personaje llamado "The Bullet Farmer", así como las escenas filmadas en el desierto.

Eight years have passed since the release of this film and I am glad that the wait was not as long as it happened before to see again that devastated world, thirsty for fuel and now for water, a new story, a new production within that franchise revived my desire to see what is still the last film of the franchise, but not the real version, I mean known as "Black and Chrome ", a black and white version that can be considered a whim of its director, but I think it was an opportunity to make the viewer can focus on the story apart from the colorful and epic action scenes. I think filming in black and white proposes an elegant style to the film, this is a recurring and very personal opinion of mine when watching this style of film right now and it is that it gives me a feeling of watching some classic film, something from yesteryear no matter if it is a 2015 production.

In this version my expectations were focused on the final scenes of the second act which are the darkest in the whole film and of course in everything that is the third act and final, but I must say that I was surprised by the scenes where it begins with the chase to which I always considered as the main protagonist, I mean "Imperator Furiosa"; just the black and white style makes it look like a film of yesteryear or at least see the style of how Miller filmed "Mad Max" in the late 70's, the predilection of the gray color highlights many scenes in the chase especially at the time of the beginning of the sandstorm and possibly expected not to look good, but the reality is that there are scenes that work very well; from then on, the night scenes work, probably because of the briefness, but the black and white I think makes them look better, the images of the character called "The Bullet Farmer" are much more enjoyable, as well as the scenes filmed in the desert.

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Posiblemente, las escenas finales sea lo que menos me ha gustado al verlo en Blanco y Negro, igualmente disfrute toda la secuencia porque es imposible no hacerlo; la coreografía es excelente, las imágenes también, pero no encontré algo que resalte tanto como si ocurre en otras escenas más en el film y es aquí en dónde encuentro posiblemente una disyuntiva y es que justamente esa última parte del film, se nota mucho más los colores, es la que más iluminación presenta, existe mucha importancia entre esos dos factores, pero al hacerlo en blanco y negro por supuesto que dejar de existir el elemento colorido en dónde es notorio tan solo dos colores, pero repito, no es algo malo, es imposible eso, solo que la manera de como se filmó creo que esta versión no resalta tanto.

Possibly, the final scenes are what I liked the least when I saw it in black and white, but I still enjoyed the whole sequence because it is impossible not to; the choreography is excellent, the images too, but I didn't find something that stands out as much as it happens in other scenes of the film and it is here where I find possibly a dilemma and it is that just that last part of the film, the colors are much more noticeable, it is the one that presents more illumination, there is a lot of importance between these two factors, but by doing it in black and white of course there is no longer the colorful element where only two colors are noticeable, but I repeat, it is not a bad thing, it is impossible, just that the way it was filmed I think this version does not stand out so much.

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"Mad Max: Fury Road" presenta una excelente narrativa del personaje que da nombre a esta franquicia, es una evolución muy bien planeada y que en esta oportunidad presentó una manera perfecta en como alguien está para ayudar, para ser una importante parte de una historia de redención, de esperanza y por supuesto de hacer el bien en un mundo completamente devastado, creo que eso hacía mucha falta en esta historia la cual siempre encuentra el momento perfecto para mostrar una aventura diferente de alguien que es una leyenda en ese mundo post apocalíptico. Me gustó volver a ver este film y con en esta versión porque primeramente han pasado ocho años, segundo se puede apreciar diferentes temas que son parte de esa historia y se aprecia ciertos elementos usado por Miller al momento de dirigir ese film; me gustó usar de excusa el ver el grandioso trailer de "Furiosa" para por fin decidirme a ver "Black and Chrome" y me hace pensar que ojalá se pueda hacer en algún momento los dos primeros films en ese estilo y así motivar a directores a tomar clásicos del cine, remasterizar sus producciones y porque no, tener también una versión en Blanco y Negro.

"Mad Max: Fury Road" presents an excellent narrative of the character that gives its name to this franchise, it is a very well planned evolution and this time presented a perfect way in which someone is there to help, to be an important part of a story of redemption, hope and of course to do good in a completely devastated world, I think that was missing in this story which always finds the perfect time to show a different adventure of someone who is a legend in that post-apocalyptic world. I liked watching this film again and with this version because first of all eight years have passed, secondly you can appreciate different themes that are part of that story and you can appreciate certain elements used by Miller at the time of directing that film; I liked using the great trailer of "Furiosa" as an excuse to finally decide to see "Black and Chrome" and it makes me think that hopefully the first two films can be made in that style at some point and thus motivate directors to take classic films, remaster their productions and why not, also have a Black and White version.

Episode Seven has start an event I was waiting for some time, everyone including Rand and Egwene start using their powers at will, there is one thing I never consider is that Moiraine will recover her ability to connect again with the one power, not only that its exciting to see all this characters using their powers there is also Lanfear trying to show Rand she cares for him although it is still not clear when and where her "love" for Rand, The Dragon; goes off the cliff, they keep saying its always the same story that never ends and never change, Lanfear herself mention it "after 3000 years here I am..." when she was trying to help Rand escape, she is so powerful she feels been there creating a distraction for Rand is a waste of her time but she still did it because she loves Rand although he doesn't remember anything from his previous life.

There is also a good amount of the episode that gives more details about Siuan and Moiraine love story, on season one there was an episode that shows them sneaking out to a small house next to the river, I always ask myself why was that and where was that, but this episode gives more context of why they sneak out and where, things have change drastically when Siuan finds out Rand is the Dragon and Moiraine kept him from her and The White Tower, Siuan is piss at her badly to the point she demands as her superior and not as the women once loved her.

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IMDB: https://www.imdb.com/title/tt7462410/ Platform: Amazon

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Let me tell you Moiraine looks so weird smiling, specially with such a big simile, all her teeth showing, for the most part on season one and two she have never laugh or smile like that I can remember, her dream and hope was to be with Siuan, get out of the tower and start a life together now that the ongoing war is over, Siuan thought the same but something more quiet, a house next to the river like she had when she was child, her dad's house, Moiraine even call herself Siaun Fishwife, I really don't give two fucks if the series was trying to push a message or not, it is very entertaining. It was at this point on her life that Moiraine would be destine to find the Dragon after she hold on her hands Sister Gitara, Ais Sedai; who had a vision of The Dragon Reborn, it was Rand's mother giving birth after battling for her life caring him inside.

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This scene they divided in like three parts but mostly was Rand trying to be tough but at the same time docile, he finally meet with Amyrlin Seat, Siuan Seday, after all this entire party is for him, I wonder how much of his power will he be using on this season because he has no control over it, he is suppose to be the most powerful of them all but when ever he tries to use his powers it consume him, in this scene Siuan cut the bullshit and tells him straight up that The White Tower has rules and procedures, one of them put The Dragon in a cage and use him as a weapon to this Rand tries to fight back but it only took her a single wave of her hand to put him on his knees, at his point he has the potential but no control over his powers I think he cant even beat Moiraine on a one on one fight.

Moiraine is called by Siuan, she kept Rand from everyone else with the assumption that The White Tower was corrupt so she must kept him out of danger until he was ready, this got her no where, she "lost" her powers, Rand was found first by Lanfear and he cant even beat Siuan so they have got no where and Siuan feels the same, its time for things been done The White Tower way.

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It is true that I have mention on this post how Rand has no control over his powers but he now has discover a way to communicate with Lanfear without having to actually sleep?? Lanfear is a dream walker, she can enter anyone's dream and kill him if she wanted. Rand is send to the dungeon to keep prisoner until Siuan says, he is been watch by Leane Sedai and at this point Moiraine still can't use her powers so there is no way out for Rand until he ask for Lanfear help, she is so fkn hot on her leather dress, obviously she accept to help him escape but not after a little foreplay, she likes to be "manipulated" by him like she wants him to be in charge but its not his time, things might be different in the future and this is when I think Rand will be tempted by the dark side, once he is able to fully control his powers, makes me think that at some point he will have his doubts and might side with Lanfear.

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After I'm done with this season I might rewatch the entire thing including season one because I think I'm missing when may be Moiraine or some one else explain why Lanfear wants Rand so badly, at first I thought it was for his powers or to kill him but that was never the case, that time Moiraine cut Lanfear throat at the cabin she was about to do something with Rand, he was tied up to the bed but then Moiraine show up and ruin the hole thing, Lanfear creates the perfect distraction and set the town on fire so Rand could escape, Siuan had to team up with other sisters and create rain to put off the fire.

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For the most part this episode was pure action, it was all about Lanfear, Rand, Moiraine and Siuan trying to make things work out, well except Lanfear she will just go with Rand but things went south when Siuan got Moiraine against the wall.

When Rand finally got the time to look at Moiraine and knew that her powers were taking he saw something in her, Ishamael put some sort of tie, a spell; that limits her so she could not use the one power and he had to gently destroy it, as they explain it was risky because if he use too much power could kill her but that was the boring part, it was Moiraine reaction to feel the power again that was really cool, it was a mid point of happy, cry and laughing at the same time, she opens a gateway, portals to travel through space and time; old dark passage, the moment Siuan caught them she force Moiraine to close it against her will using her power but everything came down for Siuan when Lanfear appears, I think Siuan is been blind by the fact that she is the Amyrlin Seat and by the White Tower laws, I don't want to say power got her overestimate Rand and Lanfear but its actually lack of understanding of what she is dealing, who she is dealing with, she thought could beat Lanfear and got drag around like it was nothing, falling and had to watch Lanfear open the gateway with Rand and Moiraine following her, WTF she must be thinking at that moment, who would have knowing a forsaken, the dragon and Aes Sedai getting into a gateway.

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In between this entire awesome episode that got an 8.2/10, anything above 8 is fucking great; the cherry on top was Egwene, Rena and her got to a training session, there were a few things that got my attention, when they were about to execute an attack Rena told her "don't worry for this one I dont need anything from you" then Egwene explodes in power creating a huge expansion wave but the BEST part probably from the entire episode is when Egwene told Rena TO HER FACE, wearing her collar "I will kill you", this is HUGE, the reason is because women wearing the A'dam can not even THINK about hurting the one holding the leach, the fact that Egwene was able to do this says a lot of her power, how she had dominate and control her feelings, mind and powers is insane.

As usual WOT episodes end up on long posts, there were a few things that I try to resume from this one, now that I'm changing the format of my posts I try to bring a more graphic representation of my writing and I really enjoy but its way more work than previous posts, for those who support my content I really appreciate it.

This episode was crazy and from what I have seen the next, last episode is probably even better; finally every one is going to meet at Falme for the final of this season, I wonder who dies, I have to assume Lanfear doesn't because I think she will stay close to Rand until he is able to control his powers, so far seems that season three is on its way for 2024, now that Moiraine has her powers back things are going to change drastically but for how long she will stay close to Rand, after all Lanfear hates her.

Perry side story is still very insignificant for the main story but has become way more interesting than it was, same goes for Mat but those two are characters to fill up.

From all the TV series of 2023, WOT season two had the most dramatic come back in a season after people were constantly complaining for the first half how slow, boring, it was, while I was on the other side of the fence thinking this is going to get wild towards the end and it did.

A mystery to solve, a story to tell, with an unexplained, intense event that will keep you hooked until you discover the truth.

Un misterio que resolver, una historia que contar, con un suceso inexplicable, intenso, que te mantendrá enganchado hasta descubrir la verdad.

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The plot revolves around two friends who decide to flee, and board a yacht, which is found adrift, completely abandoned, with the personal belongings of the passengers, with no one on board; with this mysterious event, the police decide to conduct an investigation, in order to find the people who boarded the yacht, and answer the questions that this entails.

No Escape is a miniseries consisting of 7 episodes, directed by Hans Herbots, and starring Abigail Lawrie, Rhianne Barreto, Jay Ryan, Sean Keenan, among others, which shows us an intense story, full of suspense, drama, and secrets that will be revealed as each scene unfolds.

La trama gira en torno a dos amigas que deciden huir, y abordan un yate, el cual es encontrado a la deriva, completamente abandonado, con los objetos personales de los pasajeros, sin nadie a bordo; con este misterioso suceso, la policía decide realizar una investigación, con tal de dar con las personas que abordaban el yate, y responder las interrogantes que esto conlleva.

No Escape es una miniserie que consta de 7 episodios, dirigida por Hans Herbots, y protagonizado por Abigail Lawrie, Rhianne Barreto, Jay Ryan, Sean Keenan, entre otros, la cual muestra nos muestra una historia intensa, llena de suspenso, drama, y secretos que se irán revelando a medida que transcurre cada escena.

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A story that grabs you from the first chapter, you want to know more, how it all ends, what happened on that yacht, who died, who survived, how he escaped, there are so many questions that you are doing as it progresses, so it fulfills its purpose of keeping you there as a spectator, pending every detail, to understand the plot.

Although at the beginning you get the idea, nothing is what it seems, since as it goes on, everything makes sense, somehow, but nothing to what you thought, or thought it might be for that part has its merit.

Una historia que te atrapa desde el primer capítulo, quieres saber más, como termina todo esto, que paso en ese yate, quienes murieron, quién sobrevivió, como escapo, son tantas interrogantes que te vas haciendo a medida que avanza, por ello cumple su propósito de mantenerte allí como espectador, pendiente de cada detalle, para poder entender la trama.

Aunque al principio te haces una idea, nada es lo que parece, puesto que a medida que transcurre, todo va teniendo sentido, de alguna forma, pero nada a lo que pensaste, o creíste que podía ser por esa parte tiene su mérito.

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RECURSO / RESOURCE	FUENTE / SOURCE
Imágenes / Pictures:	Cover/Portada
Translation/Traducción:	DeepL Traductor
Edition/Edición :	Cover and banner with Canva /Portada y banner con Canva
Edition/Edición :	Canva GIF Separator/Separador GIF Canva
Video trailer :	Youtube
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Creo que por fin he logrado algo, siempre quise ver cierta película pero nunca se me daba la oportunidad, hasta que recientemente lo conseguí, en específico ayer mismo en la tarde y es que la película toca un tema que es muy importante e interesante para mí, creo que puede apasionar a cualquiera que lo conozca y bueno si no lo conoces, se puede abrir un camino nuevo en tu vida debido a que puede llegar a cambiar tu forma de cómo comprendes el mundo. El tema en cuestión es el efecto mariposa, algo que es muy representado actualmente en muchos medios, sobre todo más en videojuegos donde tenemos que hacer elecciones pero mucho antes de eso, teníamos una clara y evidentemente representación en el cine con lo que era la película El efecto mariposa protagonizada por Ashton Kutcher, donde podemos ver de una forma más superficial el cómo las decisiones que tomemos cambian de alguna forma u otra nuestro destino, ya que se dice que el aleteo de las alas de una mariposa puede causar un tifón en cualquier lugar del mundo, en dicha película se pueden ver diversos escenarios conforme el protagonista va cambiando las acciones de su pasado dando a lugar un nuevo presente pero de la película que hablaremos hoy en verdad es Mr. Nobody, donde se explora de forma profunda tres líneas del tiempo diferentes de nuestro protagonista que además aún así está propenso o sujeto a cambios. Así que sin más dilación hablemos de esta interesante película.

I think I've finally achieved something, I always wanted to see a certain movie but I never had the opportunity, until recently I got it, specifically yesterday afternoon and it is that the movie touches on a subject that is very important and interesting to me, I think it can passion anyone who knows it and well if you do not know it, you can open a new path in your life because it can change your way of understanding the world. The subject in question is the butterfly effect, something that is very represented currently in many media, especially more in video games where we have to make choices but much before that, we had a clear and obviously representation in the cinema with what it was the movie The Butterfly Effect starring Ashton Kutcher, where we can see in a more superficial way how the decisions we make change in one way or another our destiny, since it is said that the flapping of the wings of a butterfly can cause a typhoon anywhere in the world, in that movie you can see different scenarios as the protagonist changes the actions of his past giving rise to a new present but the movie we will talk about today is really Mr. Nobody, where it is deeply explored three different time lines of our protagonist who is also prone or subject to changes. So without further ado, let's talk about this interesting movie.

_{[_Source_](https://europeanfilmawards.eu/en_EN/film/mr-nobody.7829)}

VERSIÓN EN ESPAÑOL (click aquí)

La película nos pone en la piel de un niño llamado Nemo Nobody, quien ha sido bendecido antes de nacer con la habilidad de recordar todos los posibles futuros que tendrá o por lo menos eso es lo que dice él, según desde antes de nacer tuvo la posibilidad de elegir entre varias familias hasta escoger la definitiva, solo porque la mujer olía bien, desprendía un olor agradable, aunque Nemo podría no haber nacido si sus papás no se hubieran cruzado aquel día, durante su niñez tres muchachas han estado interesadas en él, de las cuales dependiendo con cuál decida quedarse, su futuro tomará el giro más drástico pero esto viene acompañado también con la decisión de con quién quedarse en el momento de separación de sus padres en aquella estación de tren, son muchas elecciones con las que Nemo tendrá que lidiar y nosotros seremos espectadores de todas ellas, además del resultado de todas esas ramificaciones. También veremos los trágicos desenlaces de Nemo, que pueden llegar a ser evitables debido a nimiedades por ejemplo con el simple hecho de salir un poco más tarde del trabajo o no dejar que una moneda decida todas las decisiones que quieras tomar. Aunque en realidad, todo esto que vemos son los recuerdos de un Mr. Nobody de 118 años, el cual es último mortal vivo, las demás personas en ese futuro distópico no pueden morir debido a un proceso de regeneración que ha sido creado, por lo cual es entrevistado sobre su vida, dejando confusos a todos, por contar una vida prácticamente llena de contradicciones. Una evidente reflexión al cómo las elecciones que hagamos pueden tener un gran efecto, potenciando (esa explotada por los medios audiovisuales al día de hoy) la hipótesis de la existencia de un multiverso.

The movie puts us in the shoes of a boy named Nemo Nobody, who was blessed before he was born with the ability to remember all the possible futures he will have or at least that's what he says, according to before he was born he had the possibility to choose between several families until he chose the definitive one, only because the woman smelled good, she emitted a pleasant smell, although Nemo could not have been born if his parents had not crossed that day, during his childhood three girls have been interested in him, from which depending on which one he decides to stay with, his future will take the most drastic turn but this is also accompanied by the decision of who to stay with at the moment of separation of his parents in that train station, there are many choices with which Nemo will have to deal and we will be spectators of all of them, in addition to the result of all those branches. We will also see the tragic endings of Nemo, which can be avoided due to trifles for example with the simple fact of leaving work a little later or not letting a coin decide all the decisions you want to make. Although in reality, all we see are the memories of a 118-year-old Mr. Nobody, who is the last living mortal, the other people in that dystopian future cannot die because of a regeneration process that has been created, so he is interviewed about his life, leaving everyone confused, for telling a practically full life of contradictions. An obvious reflection on how the choices we make can have a great effect, potentiating (that exploited by the audiovisual media today) the hypothesis of the existence of a multiverse.

_{[_Source_](https://m.filmaffinity.com/es/film716107.html)}

VERSIÓN EN ESPAÑOL (click aquí)

Hay diversas creencias en el cómo se rige nuestro universo, muchos creen que el destino ya está escrito y no podemos cambiar nada de lo que hagamos pero yo prefiero creer en la ley básica de acción y reacción, cada cosa que hagas va a influir de cierta forma en el tiempo ya sea a corto o largo plazo, cada pequeña decisión, cada pequeña acción, todo influye y tú debes ser consciente de eso, saber que tienes en tus manos un gran poder que de alguna forma u otra cambiará el destino del universo, aunque tú no llegues a observar los cambios, aunque no sean perceptibles a la vista, están ahí. Lo complicado entra en el dado caso de que hay un multiverso, cada decisión que tomemos tiene la capacidad de crear su propia ramificación con su propio desenlaces con futuros totalmente diferentes, obviamente no son visibles para el ser humano común pero podrían estar ocurriendo justo en este momento mientras lees esta publicación, quizás en uno de estos multiversos yo ni escribí esto, quién sabe. Mr. Nobody, consigue explorar bastante bien todas las posibilidades posibles, dándonos así algunos futuros donde Nemo no consigue quedarse con nadie, solo por decir algo inadecuado a la chica que le gusta o por no atreverse a ir un paso más allá teniendo que tomarle tres intentos, tres diferentes opciones, nada es color de rosa en la vida de Nemo pero conforme transcurren los minutos de la cinta podemos ver cierta preferencia hacia una persona en específico, dándonos a entender que esa es la ramificación donde más disfrutó y más fue feliz, incluso dándole las gracias a dicha persona antes de morir.

There are various beliefs about how our universe is governed, many believe that destiny is already written and we can not change anything we do but I prefer to believe in the basic law of action and reaction, everything you do will somehow influence time, either in the short or long term, each small decision, each small action, everything matters and you must be aware of that, knowing that you have in your hands a great power that somehow change the destiny of the universe, although you do not reach to observe the changes, although they are not visible to the naked eye, they are there. The complicated case is that there is a multiverse, each decision we make has the ability to create its own branch with its own outcomes with totally different future, obviously they are not visible to the common human being but they could be happening right now as you read this post, maybe in one of these universes I did not even write this, who knows. Mr. Nobody, manages to explore quite well all the possible options, giving us some future where Nemo does not manage to stay with anyone, just for saying something inappropriate to the girl he likes or for not daring to take one step further having to take three attempts, three different options, nothing is rosy in Nemo's life but as the minutes of the film go by we can see a preference for a specific person, giving us to understand that this is the branch where he enjoyed more and was happier, even thanking that person before dying.

_{[_Source_](https://gaara4896.github.io/blog/mr-nobody-choices/)}

VERSIÓN EN ESPAÑOL (click aquí)

Y puede que al final todas estas ramificaciones no hayan servido de nada o que todo lo que hayamos presenciado en realidad no exista, por algo Nemo posee el apellido de Nobody (que en español significa nadie), todo lo que vemos se desemboca de por el joven Nemo sin saber qué decidir si entre su papá o su mamá, ¿pero qué pasaría si Nemo eligiera por su propia cuenta? Nada de lo que vimos existió ni existirá por ende el Mr. Nobody no sería el último hombre mortal que vemos al comienzo de la película pasaría a ser nadie debido a la nulidad de su existencia, un poco complicado de entender todo. Como siempre he dicho, las posibilidades son infinitas, tantas elecciones nos llevan a muchos caminos que quizás nunca llegaremos a conocer. Para mí, que soy algo obsesivo con este tema (la teoría del caos y el efecto mariposa) casi tanto como con los viajes en el tiempo, me pareció un viaje espectacular con miles de futuros diversos y variantes, se explica más a profundidad en qué consiste y la podría considerar como una versión mucho más seria y más lograda que en la película El Efecto Mariposa, aunque en esa película tengo entendido que el protagonista solo cambia su línea del tiempo, acá en cambio afrontamos todas las diferentes líneas del tiempo de nuestro protagonista transmitiendo esa sensación de libertad donde hay muchos más caminos y elecciones que se pueden explorar. Considero que no es tan pesada de ver y si te gustan los temas como el efecto mariposa y los multiversos esta película fácilmente podría encantarte, creo que Mr. Nobody entra definitivamente en mis películas favoritas.

And maybe in the end all these branches have not served anything or that everything we have witnessed does not actually exist, for something Nemo has the surname of Nobody (which in Spanish means nobody), everything we see is carried out by young Nemo without knowing what to decide if between his father or his mother, but what would happen if Nemo chose for himself? None of what we saw existed or will exist, therefore Mr. Nobody would not be the last mortal man we see at the beginning of the film, he would become nobody due to the nullity of his existence, a little complicated to understand everything. As I always say, the possibilities are infinite, so many choices lead us to many roads that perhaps we will never know. For me, who am a little obsessive with this subject (the theory of chaos and the butterfly effect) almost as much as with time travel, it seemed to me a spectacular journey with thousands of diverse and variant futures, it is explained more deeply in what it consists and I could consider it as a much more serious and more achieved version than in the movie The Butterfly Effect, although in that movie I understand that the protagonist only changes his timeline, here instead we face all the different timelines of our protagonist transmitting that sense of freedom where there are many more paths and choices that can be explored. I do not consider it so heavy to see and if you like topics like the butterfly effect and the multiverse this movie could easily enchant you, I think Mr. Nobody definitely enters my favorite movies.

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_{Traducido con ChatGPT / Translated with ChatGPT via https://hivetranslator.com}

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Synopsis: Waldisney works as a doorman in a residential building, but needs to deal with the most diverse types of daily problems that his profession brings to him on a daily basis.

Once upon a time, Brazilian cinema relied on a generic comedy to try to convince the public that situations that are part of everyday life in some professions can actually be something funny. In this movie, the focus is on the work of a doorman, who brings with him an infinite number of stories that naturally can be something fun, but what is done with this movie is a real waste of money (the sponsors must have hated throwing money at such poor production) and time. In short, it's a well-intentioned movie, but it's fast, artificial and very shallow.

Folha PE

As a very determined and hard-working Northeasterner, the public quickly gets to know Waldisney and his family. The plot follows him at a police station, reporting to a police officer the different situations that made him arrive there at night. This is the movie's narrative, putting together a set of small stories and telling them to the audience using the resource of “subverted metalanguage” to use the protagonist as a kind of “narrator”. As the script builds, everything becomes increasingly uninteresting as more characters arrive.

Within this doorman's routine, specific situations occur that force him to leave the entrance to meet the needs of residents. Unable to deny this type of help, his work is compromised and Waldisney is on the verge of being fired by the new manager. On this tightrope, he needs to find a way to continue helping the residents and at the same time, continue maintaining his work. In the midst of this dilemma, the (supposedly) funny plots take place, introducing the other characters (who are mostly quite weak).

Cinema no Escurinho

The cast is led by Alexandre Lino, who has a charismatic presence on screen and really manages to sell his character quite truthfully. The same cannot be said for the rest of the cast, which even has great names like Cacau Protásio and Maurício Manfrini, but they are wasted within a script that manages to extract what is least funny about them. Generally speaking, the team is good (their potential is undeniably good), but the script is really very problematic to the point of compromising the work of absolutely everyone in the scene.

There is no depth whatsoever in the characters' lives. They just appear on the screen to try to tell some kind of joke or simply to be part of it and from that, the editing joins the scenes together and decides to create a movie that looks more like a patchwork quilt stitched together with different episodes of some series television and this strategy don’t work very well because all the resources used to “make up” this type of approach is something very clear, hindering any type of “cognitive construction” on the part of the audience (in other words, it's not funny).

Folha do Leste

It is also very obvious to note how bad Paulo Fontenelle's direction is. In addition to writing this terrible script, he also took on the director's chair and showed that he really still needs to improve a lot to achieve recognition within this profession. Everything in the movie seems very lost, as if scenes were always being improvised without the slightest type of supervision. There is no creativity in the execution, there is not the slightest effort or even a good intention in directing this project in a decent way, resulting in a pile of errors followed by errors.

If it weren't for the charismatic presence of the protagonist himself, this movie would have been a complete failure. Even though it's a relatively bad movie (especially considering the fact that it's a comedy, because here in Brazil this cinematographic genre tends to be traditionally very strong), it has its own identity, and tells it in a humble way (and with a few jokes that really work) the daily life of a profession that is still invisible and disrespected in the eyes of millions of people (in this aspect, the script has a social critique inserted).

Bem Paraná

The Doorman could have been a much funnier and more interesting movie if it had been developed in other ways (something more organic perhaps, where the funny situations flowed more easily and were not “forced” to try to make the audience laugh at any cost through of poor or poorly executed narrative resources), but from the beginning there is a very messy type of editing, which in parallel with a script that doesn't know what it wants to tell the audience, results in nothing less than a forgettable project even before to reach its end.

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CRÍTICA DE PELÍCULA: “El portero” (2023)

Sinopsis: Waldisney trabaja como portero en un edificio residencial, pero necesita lidiar con los más diversos tipos de problemas cotidianos que su profesión le trae a diario.

Érase una vez el cine brasileño se basó en una comedia genérica para intentar convencer al público de que situaciones que forman parte de la vida cotidiana en algunas profesiones pueden en realidad ser algo divertido. En esta película, la atención se centra en el trabajo de un portero, que trae consigo una infinidad de historias que naturalmente pueden ser algo divertidas, pero lo que se hace con esta película es un auténtico desperdicio de dinero (los patrocinadores debieron odiar tirar dinero con una producción tan pobre) y tiempo. En definitiva, es una película bien intencionada, pero rápida, artificial y muy superficial.

Como nordestino muy decidido y trabajador, el público conoce rápidamente a Waldisney y a su familia. La trama lo sigue en una comisaría, informando a un policía las diferentes situaciones que le hicieron llegar allí de noche. Esta es la narrativa de la película, armar un conjunto de pequeñas historias y contarlas al público utilizando el recurso del “metalenguaje subvertido” para utilizar al protagonista como una especie de “narrador”. A medida que avanza el guión, todo se vuelve cada vez menos interesante a medida que llegan más personajes.

Dentro de la rutina de este portero se producen situaciones concretas que le obligan a abandonar la entrada para atender las necesidades de los vecinos. Incapaz de negarse a este tipo de ayuda, su trabajo se ve comprometido y Waldisney está a punto de ser despedido por el nuevo gerente. En esta cuerda floja, necesita encontrar la manera de seguir ayudando a los vecinos y al mismo tiempo seguir manteniendo su trabajo. En medio de este dilema, se desarrollan las tramas (supuestamente) divertidas, presentando a los demás personajes (que en su mayoría son bastante débiles).

El reparto está encabezado por Alexandre Lino, que tiene una presencia carismática en la pantalla y realmente consigue vender su personaje con bastante sinceridad. No se puede decir lo mismo del resto del elenco, que incluso cuenta con grandes nombres como Cacau Protásio y Maurício Manfrini, pero están desaprovechados dentro de un guión que logra extraer lo menos divertido de ellos. En general, el equipo es bueno (su potencial es innegablemente bueno), pero el guión es realmente muy problemático hasta el punto de comprometer el trabajo de absolutamente todos los actores de la escena.

No hay profundidad alguna en la vida de los personajes. Simplemente aparecen en pantalla para intentar contar algún tipo de chiste o simplemente para ser parte de él y a partir de ahí, el montaje une las escenas y decide crear una película que se parece más a una colcha de retales cosidos con diferentes episodios de algunas series de televisión y esta estrategia no funciona muy bien porque todos los recursos que se utilizan para “maquillar” este tipo de enfoques son algo muy claro, dificultando cualquier tipo de “construcción cognitiva” por parte de la audiencia (en otras palabras, no es divertido).

También es muy obvio notar lo mala que es la dirección de Paulo Fontenelle. Además de escribir este terrible guión, también asumió la silla de director y demostró que realmente todavía necesita mejorar mucho para lograr el reconocimiento dentro de esta profesión. Todo en la película parece muy perdido, como si las escenas estuvieran siempre improvisadas sin el más mínimo tipo de supervisión. No hay creatividad en la ejecución, no hay el más mínimo esfuerzo ni siquiera buena intención en dirigir este proyecto de manera digna, lo que resulta en un montón de errores seguidos de errores.

Si no fuera por la carismática presencia del propio protagonista, esta película habría sido un completo fracaso. Aunque es una película relativamente mala (sobre todo teniendo en cuenta que es una comedia, porque aquí en Brasil este género cinematográfico suele tener mucha fuerza), tiene identidad propia y lo cuenta de manera humilde (y con algunas chistes que realmente funcionan) la vida cotidiana de una profesión que aún es invisible e irrespetada a los ojos de millones de personas (en este aspecto, el guión tiene insertada una crítica social).

El portero podría haber sido una película mucho más divertida e interesante si se hubiera desarrollado de otra manera (algo más orgánico quizás, donde las situaciones divertidas fluyeran con mayor facilidad y no estuvieran “obligadas” a intentar hacer reír al público a cualquier precio mediante de recursos narrativos pobres o mal ejecutados), pero desde el principio hay un montaje muy desordenado, que en paralelo a un guión que no sabe lo que quiere contarle al público, da como resultado nada menos que un proyecto olvidable incluso antes de llegar a su fin.

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CRÍTICA DE FILME: “O Porteiro” (2023)

Sinopse: Waldisney trabalha como porteiro em um prédio residencial, mas precisar lidar com os mais diversos tipos de problemas diários que à sua profissão lhe traz diariamente.

Uma vez o cinema brasileiro aposta em uma comédia genérica para tentar convencer o público de que situações que fazem parte do cotidiano de algumas profissões pode realmente ser algo engraçado. Neste filme, a aposta é o trabalho de um porteiro, que traz consigo uma infinidade de estórias que naturalmente pode mesmo ser algo divertido, mas o que é feito com este filme é um verdadeiro desperdício de dinheiro (os patrocinadores devem ter odiado jogar dinheiro em uma produção tão fraca) e de tempo. Em síntese, é um filme bem intencionado, mas é rápido, artificial e bem raso.

Na pele de um nordestino muito determinado e trabalhador, o público rapidamente conhece Waldisney e sua família. A trama segue com ele em uma delegacia, relatando para um delegado as diferentes situações que o fizeram chegar até ali durante à noite. Essa é à narrativa do filme, colar um conjunto de pequenas estórias e contá-las para o público usando o recurso de “metalinguagem subvertido” para usar o protagonista como uma espécie de “narrador”. Enquanto o roteiro vai se construindo, tudo vai se tornando em algo cada vez mais desinteressante à medida em que mais personagens chegam.

Dentro da rotina desse porteiro, situações específicas vão acontecendo e o obrigam a sair da portaria para atender as necessidades dos moradores. Sem poder negar esse tipo de ajuda, o seu trabalho fica comprometido e Waldisney está a ponto de ser demitido pelo novo síndico. Nessa corda bamba, ele precisa encontrar uma maneira de continuar ajudando os moradores e ao mesmo tempo, continuar mantendo o seu trabalho. No meio desse dilema é que as tramas (supostamente) engraçadas acontecem, apresentando os outros personagens (que em sua maior são bastante fracos).

O elenco é liderado por Alexandre Lino, que tem uma presença carismática na tela e realmente consegue vender o seu personagem com bastante veracidade. O mesmo não pode ser dito pelo restante do elenco, que inclusive, tem ótimos nomes como Cacau Protásio e Maurício Manfrini, mas são desperdiçados dentro de um roteiro que consegue extrair o que há de menos engraçado neles. De um modo geral, o time é bom (o potencial comido deles é inegavelmente bom), mas o roteiro é realmente muito problemático a ponto de comprometer o trabalho de absolutamente todos em cena.

Não há o menor tipo de profundidade na vida dos personagens. Eles apenas surgem na tela para tentar contar algum tipo de piada ou simplesmente para fazer parte dela e a partir disso, à edição junta as cenas umas nas outras e decide criar um filme que mais parece uma colcha de retalhos costurada com diferentes episódios de alguma série de televisão e essa estratégia não funciona muito bem porque todos os recursos utilizados para “maquiar” esse tipo de abordagem é algo muito nítido, atrapalhando qualquer tipo “construção cognitiva” por parte do público (ou seja, não é engraçado).

Também é muito óbvio notar o quanto a direção de Paulo Fontenelle é ruim. Além de escrever esse péssimo roteiro, ele também assumiu a cadeira de diretor e mostrou que realmente ainda precisa melhorar muito para chegar a ter um reconhecimento dentro dessa profissão. Tudo no filme parece muito perdido, como se estivesse sempre havendo uma improvisação nas cenas sem o menor tipo de supervisão. Não há criatividade na execução, não há o mínimo esforço e sequer uma boa intenção em dirigir este projeto de maneira decente, resultando em um amontoado seguido de erros.

Se não fosse pela presença carismático do próprio protagonista, esse filme teria sido um fracasso completo. Mesmo sendo um filme relativamente ruim (principalmente considerando o fato de que se trata de uma comédia, porque aqui no Brasil esse gênero cinematográfico costuma ser tradicionalmente muito forte), ele tem à sua identidade, e conta de maneira humilde (e com algumas poucas piadas que realmente funcionam) o cotidiano de uma profissão que ainda é invisível e bem desrespeitada aos olhos de milhões de pessoas (neste aspecto, o roteiro tem uma crítica social inserida).

O Porteiro poderia ter sido um filme muito mais divertido e mais interessante se tivesse sido desenvolvido de outras maneiras (algo mais orgânico talvez, onde as situações engraçadas fluíssem mais facilmente e não tivessem sido “forçadas” para tentar fazer o público rir a qualquer custo através de recursos narrativos pobres ou mal executados), mas desde o seu início há um tipo de montagem muito bagunçada, que em paralelo a um roteiro que não sabe o que quer contar para o público, resulta em nada menos do que um projeto esquecível antes mesmo de chegar ao seu final.

Art is a way to face our torments, our emotions, our pain. Writing, painting, etc. Any artistic medium is valid to express ideas, send a message or fight against demons. Cinema is also one of those artistic expressions ideal for this. It does not matter that each viewer gives it a different reading, it is part of the subjectivity of art. Each individual has his reasons for doing so and, of course, the director has his own, something very personal.

Actor and director Rachid Hami takes a tragic event that he lived very closely to build this story. The filmmaker's brother, to whom the film is dedicated, met the same fate as Aissa's character. The tragedy occurred in the same military academy that is recreated in the film. One might think that the narrative would take the direction of a denunciation and a confrontation between the family and the military power. Hami does the opposite, that is only a part of the film, preferring to focus on the family nucleus, spanning three different times, giving a touch of epic to the story.

When something is made with true love, it shows. Hami builds a story that respects the viewer, the characters and, of course, the memory of his brother. Intimate cinema that totally resonated with me. Minutes after watching it, I was crying. The events of the film may be different from those we have lived through, but by understanding the feelings of the characters, it will influence our emotions.

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El arte es una forma de afrontar nuestros tormentos, nuestras emociones, nuestro dolor. Escribir, pintar, etc. Cualquier medio artístico es válido para expresar ideas, enviar un mensaje o luchar contra los demonios. El cine también es una de esas expresiones artísticas ideales para ello. No importa que cada espectador le dé una lectura diferente, forma parte de la subjetividad del arte. Cada individuo tiene sus razones para hacerlo y, por supuesto, el director tiene las suyas, algo muy personal.

El actor y director Rachid Hami toma un trágico suceso que le tocó vivir muy de cerca para construir esta historia. El hermano del cineasta, a quien está dedicada la película, corrió la misma suerte que el personaje de Aissa. La tragedia ocurrió en la misma academia militar que se recrea en la película. Se podría pensar que la narración tomaría el rumbo de una denuncia y un enfrentamiento entre la familia y el poder militar. Hami hace lo contrario, eso es sólo una parte de la película, prefiriendo centrarse en el núcleo familiar, abarcando tres tiempos diferentes, dando un toque de épica a la historia.

Cuando algo se hace con verdadero amor, se nota. Hami construye una historia que respeta al espectador, a los personajes y, por supuesto, la memoria de su hermano. Cine intimista que ha calado totalmente en mi. Minutos después de verla, estaba llorando. Puede que los acontecimientos de la película sean diferentes de los que hemos vivido, pero al comprender los sentimientos de los personajes, influirá en nuestras emociones.

Immigration. Starting from scratch. Rebuilding life. Escaping disaster. Searching for a better future for her children. This is what Nadia's character does. She lived through the years of lead, the armed conflict in Algeria. She sees France as the ideal place for her children to live in peace and have a future. It is what most of us want. To live in a land where there are opportunities, order, tranquility, but the predatory and conquering instinct of the human being always spoils everything.

Responsibilities. Justice. Honor. There are accidents that can be avoided. When faced with a tragedy, the first thing we want to know is who is responsible and the punishment they will receive. They say that justice is blind, but when it clashes with power, it is like plasticine that molds itself according to the interests of those who handle it. Even more so when the power is military, a body so closed that it will always try to protect its image first. Aissa's family only wants what is fair, what their son deserves. It is, as the movie poster says, a matter of honor.

The loss. The pain. The forgiveness. Cold images, without the need to use clichés or music to manipulate the viewer in search of easy tears. None of that is necessary to get into the skin of Ismael's character, Aissa's brother and the main thread of the story. He is the older brother, but life has not smiled on him as he expected. He has made bad decisions, something his family knows and always reproaches him for. Guilt and forgiveness. Only when it's too late do people realize how much time has been lost, how things could have been. Everything happens for a greater reason, some say, I don't know if they are words for the person to find relief. Ismael will have to find his place and straighten out his life.

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Inmigración. Empezar de cero. Reconstruir la vida. Escapar del desastre. Buscar un futuro mejor para sus hijos. Esto es lo que hace el personaje de Nadia. Ella vivió los años de plomo, el conflicto armado en Argelia. Ve en Francia el lugar ideal para que sus hijos vivan en paz y tengan un futuro. Es lo que deseamos la mayoría de nosotros. Vivir en una tierra donde haya oportunidades, orden, tranquilidad, pero el instinto depredador y conquistador del ser humano siempre lo estropea todo.

Responsabilidades. Justicia. Honor. Hay accidentes que se pueden evitar. Ante una tragedia, lo primero que queremos saber es quiénes son los responsables y el castigo que recibirán. Dicen que la justicia es ciega, pero cuando choca con el poder, es como la plastilina que se moldea según los intereses de quien la maneja. Más aún cuando el poder es militar, un cuerpo tan cerrado que siempre tratará de proteger primero su imagen. La familia de Aissa sólo quiere lo justo, lo que su hijo merece. Es, como dice el cartel de la película, una cuestión de honor.

La pérdida. El dolor. El perdón. Imágenes frías, sin necesidad de utilizar clichés o música para manipular al espectador en busca de la lágrima fácil. Nada de eso es necesario para ponerse en la piel del personaje de Ismael, hermano de Aissa e hilo conductor de la historia. Es el hermano mayor, pero la vida no le ha sonreído como esperaba. Ha tomado malas decisiones, algo que su familia sabe y siempre le reprocha. Culpa y perdón. Sólo cuando es demasiado tarde la gente se da cuenta de cuánto tiempo se ha perdido, de cómo podrían haber sido las cosas. Todo sucede por una razón mayor, dicen algunos, no sé si son palabras para que la persona encuentre alivio. Ismael tendrá que encontrar su lugar y enderezar su vida.

Its not very often that I make a post about a trailer although this is a game adaptation to a TV series that many have been waiting for and past weekend drop a few trailer from other very popular TV Series, I have recently read a few post online and watch videos about how good or bad could this series be, for me it has not started so I can not tell if it will be any of the two, although I can give my opinion of my first impression and how I think some people feel about it based on what I have read or watch.

Fallout TV Series might fit, didn't want to say fall; into a problem that seem to be eating alive all kind of good story or character now days, for example very recent Bob Iger from Disney said about their productions

"movies should “entertain first, not [push] messages”

Fans, that's not me; want to watch a production as close as possible to the original story, Fallout has six games in total with probably plenty of material to make more than three seasons but there are already signs that the story is far from what the games are on top signs that the TV series will be pushing messages of awareness instead of focus on a post apocalyptic fiction story at the same time making it as close to what the game is.

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From my understanding and it makes sense to give that suspense to the story no body knows who drop the first nuclear bomb but as it is shown on the trailer it was not one but many of them, by now nuclear shelters were a thing that there were many faults, on the TV series the main character Lucy, was on Vault 33, number on their uniforms and at the end on first image; I don't know if the first episode starts with her going out because latter on the trailer she is shown inside the vault, probably they tell the story with a moving time line going back and forward, that is a common thing now days, point is she wants out and some of her partners did not like the idea, probably try to stop her as there is a guy on the floor and her lip has blood, this tells us Lucy probably knows how to throw her hands.

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Different that most vault or silo TV series, Lucy makes it out of the Vault and starts exploring the Earth, everything is destroy, almost a huge desert although there is still water oceans exist, anything that remain out of the Vaults was most likely affected by radiation or climate, this is going to be a creepy show, look at the size of that cockroach, that's what they call a rat-cockroach, things are the size of a Dog, there will be all kid of mutant creatures, some bigger, some totally different, production will let their creation fly with this creatures for entertainment purpose.

These scene right here is suppose to be off the game timeline, the explanation for this is that California can't be this bad at the time the TV Series is happening, this speculations come from the fact that at the time of the series there is already a new order taking place, the NCR (New California Republic); trying to reestablish society, Fallout world is full of multiple tribes or groups of people from raiders, mutants and there is the NCR trying to bring everyone together under one regime, we won't know if there is a timeline issue until the series release on April 2024 but fans need to understand and this is for everyone watching anything on TV, if its not a documentary it won't be 200% accurate or not even close, that seem to be a new trend, I understand those who dream about watching their favorite character on a Movie or TV series but entertainment is first and by entertainment I mean money for the studios who produce them, I don't make the rules.

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There is going to be a lot of shooting on this series, from scenes inside the vault, things are not great, people are loosing their minds, not sure if its because they are sick of been lock down because everyone goes wild, like the women on this picture with a fork on her eye shooting at everyone, this images gives me vibes that this will be a very cynic type of series meaning might be the perfect scenario to push "messages" even during the trailer Lucy mention how she never imagine things would be like that outside the vault, she always had everything to survive inside and things are very different outside. For me most of this behaviors from a character don't matter as long as its entertaining but the problem with that is they tend to deviate from the original story and that's when true fans who have play the game in this case get piss off because the character is not acting as on the game, this is the production using the movie as a way to promote certain social messages trying to fix the world but shitting on the TV Series that is suppose to be a Game adaptation.

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The Steel Brotherhood look very bad ass, this probably going to be one of the great attractions of the series, seen them shooting massive guns, fighting all kind of bandits, mutants and raiders, with their main porpuse as describe on Fallout Fandom Page, paramilitary order with chapters operating across the territory of the former United States ... core purpose is to preserve advanced technology and regulate its usage; so I'm not sure if they are going to make tech illegal for others to use, after a nuclear war, holocaust like what is shown when all the Nukes hit USA, tech will become rare and powerful to have, most people will be riding animals or walking while the Steel Brotherhood transport using vehicles like the Vertibird.

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The men or in this case based on game description Ghoul above, describe as The Ghoul on IMDB; might turn to be one of the main characters, hard to say if he will be friendly to Lucy but he will have his own story of how was his past life before the holocaust, there is a scene of him riding a horse wearing a Cowboy uniform yellow and blue with a girl most likely his daughter, the moment nukes hit the ground, on the game Ghoul are describe as men who survive the wasteland, feeding from radiation.

Bellow The Ghoul they show Maximus, at first he is seen flying on a Vertibird and now running after they get attack, he is the only one not wearing a Steel Armor, that factor makes him special to the story, as a regular viewer and not a fan who knows the story this tells me right from the start there will be multiple stories that at some point come together, so going back and forward on different timelines means to understand the series you will have to pay attention to it.

From the point of average viewer the series seems great, I expect a lot of comedy since when things are over exaggerated tend to funny and some times gross, action scenes look very cinematic, on the trailer its mention that the studios behind The Boys, if they can tone down the series it probably gets to that perfect balance where anyone can watch the show and don't feel like its too cynic because that's the main topic here, its everything goes on the wastelands and Lucy now has to survive, she wanted out and now has to learn this new world and find a safe place to stay to adapt, my opinion is DO NOT expect Fallout to be a top tier series like The Last of Us or House of Dragon.

• The story might not be 100% as the games
• They probably will rush things out

But if you are only looking for a series to kill time, laugh, a few dopamine rush and have that desire of exploring a new place, what would be Earth after a world wide nuclear bombing then I think Fallout will be an ok show, from the start a 7/10 its not crazy, probably a similar case like The Rings of Power where its not 100% as the original story but the action scenes, the production, the actors make it up to be an ok series.

Personally I don't care if a Movie or a TV Series is "Canon" or not, I'm a fan of many stories and characters and if someone makes content that is good, entertaining out of this character and changes a couple of things as long as I have a good time I personally I'm fine with it, people have to accept, they don't have to understand but to accept that is how the entertainment business works, games, comics, most adaptations wont be exactly as the original story for many factors, budget, time but a the same time producers, writers, they have to be very cautious not to rush things or deviate too much, for example Secret Invasion to me was an ok TV Series until episode five, shit hit the fan on episode five, they totally screw up the ending and I'm sure many Fallout fans will be led down by this tv series because the script and the story might not be the same as the games, six games that's a lot to digest.

En los 80' la mayoría de películas dirigidas al público adolescente eran comedias románticas; aunque varias de estas películas se diferenciaban en usar diferentes tipos de comedia o de explorar mucho más el romance, pero era imposible que este estilo de films existieran sin tener relación entre ambos géneros; este estilo de film se mantuvo por mucho tiempo más, pero en la actualidad es algo que poco se ve en el mundo del cine, me refiero a esa historia simple en dónde uno o más Nerds se comprometen a hacer lo imposible para conquistar a la chica o el chico más popular de la escuela, siendo eso la base de una divertida y hasta reflexiva historia; tiempo ha pasado y nuevamente he vuelto a ver una película en dónde usa los recursos antes citados y elementos actuales para crear una divertida historia.

In the 80's most films aimed at teenagers were romantic comedies; although several of these films differed in using different types of comedy or exploring much more romance, but it was impossible for this style of film to exist without having a relationship between the two genres; this style of film was maintained for a long time, but nowadays it is something that is rarely seen in the world of cinema, I mean that simple story where one or more Nerds are committed to do the impossible to conquer the most popular girl or boy in school, being that the basis of a fun and even thoughtful story; time has passed and again I have seen a film where it uses the above resources and current elements to create a fun story.

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"Bottoms" es una comedia juvenil que relata la historia de dos amigas, "PJ" y "Josie", dos chicas lesbianas que están en el último año de estudio en el Rockbridge Falls High School y que tienen un problema o mejor dicho, tienen una necesidad y ese es terminar con su virginidad antes que finalice el año escolar, para eso, cada una deberá conectar con dos de las chicas más hermosas y populares de la escuela, pero hay un inconveniente y eso es que tanto PJ como Josie, son impopulares, es por eso que cuando crean un Club de la Pelea o de autodefensa, ellas podrán obtener la atención necesaria para alcanzar sus metas y conseguir a las chicas de sus sueños.

"Bottoms" is a teen comedy that tells the story of two friends, "PJ" and "Josie", two lesbian girls who are in their senior year at Rockbridge Falls High School and have a problem or rather, they have a need and that is to end their virginity before the end of the school year, for that, Each of them will have to hook up with two of the most beautiful and popular girls in school, but there is a catch and that is that both PJ and Josie are unpopular, that's why when they create a Fight Club or self-defense club, they will be able to get the attention they need to achieve their goals and get the girls of their dreams.

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Este es el segundo largometraje que dirige la joven directora y guionista Emma Seligman; su desempeño en este film es más que correcto, es simple y a la vez divertido; me gustó que mantenga esa simpleza en momentos en dónde no hay que exagerar en ningún momento lo que está sucediendo en la escena, me refiero a una simple conversación entre amigas, sea en una habitación o caminando por los pasillos de la preparatoria, ambas escena son típicas vistas en otras producciones, siendo algo que no considero malo porque este tipo de escenas miden la actualidad de los personajes, sea el rechazo o la aceptación, algo muy importante en este tipo de historias; debo decir que las pocas escenas de acción son muy buenas, simples coreografías, pero sumamente divertidas.

El guion fue escrito por la misma Seligman junto a Rachel Sennott; preferiblemente está película es una sátira a muchos elementos en la actualidad, en mi opinión hay dos temas principales, uno es la normalidad de la violencia en las escuelas primarias y lo otro es sobre el feminismo, seguramente hay otros más como son las presiones de los adolescentes con respecto a la virginidad, el miedo al rechazo y hay un tema el cual ser abiertamente homosexual no cambiará los estatus sobre la popularidad y aceptación en la sociedad; todos esos temas están bien relatados desde una historia tan simple como hacer lo imposible por ligar y terminar la escuela sin ser virgen; en mi opinión es cómica, es inteligente y a pesar de tomar influencia de muchos otros films, creo que es una historia fresca, un relato nuevo y necesario.

This is the second feature film directed by the young director and screenwriter Emma Seligman; her performance in this film is more than correct, it is simple and at the same time funny; I liked that she keeps that simplicity in moments where there is no need to exaggerate at any time what is happening in the scene, I mean a simple conversation between friends, either in a room or walking through the halls of the high school, both scenes are typical seen in other productions, being something that I do not consider bad because this type of scenes measure the actuality of the characters, either rejection or acceptance, something very important in this type of stories; I must say that the few action scenes are very good, simple choreography, but extremely funny.

The script was written by Seligman herself together with Rachel Sennott; preferably this movie is a satire to many elements nowadays, in my opinion there are two main themes, one is the normality of violence in elementary schools and the other is about feminism, surely there are others such as the pressures of teenagers regarding virginity, the fear of rejection and there is a theme that being openly homosexual will not change the status of popularity and acceptance in society; all these issues are well told in a story as simple as doing the impossible to get laid and finish school without being a virgin; in my opinion it's funny, it's intelligent and despite taking influence from many other films, I think it's a fresh story, a new and necessary tale.

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Las actuaciones son excelentes, en especial las de sus dos protagonistas; empiezo por Rachel Sennott quien interpreta a "PJ", me gustó mucho este personaje, es el típico personaje con una gran actitud, muy frontal, divertido, pero a la vez muy inmaduro, es una combinación perfecta para este estilo de film y Sennott lo hace muy bien, creo que hasta es natural y funciona; con respecto a Ayo Edebiri quien interpreta a "Josie", me gusta que sea la contraparte de PJ y es que ese personaje es temeroso, es tímida, piensa muchos las cosas y eso la limita, la frena en alcanzar sus verdaderas metas, Josie es otro típico personaje en este estilo de films y Ayo lo interpreta de una manera excelente, también es mi personaje favorito del film. Existen otros personajes que me ha gustado y es que lo que aporta Ruby Cruz como "Hazel", es bueno; ese personaje es divertido, pero presenta una necesidad diferente a lo que tiene PJ y Josie, no diré que es más real, diré que posiblemente tenga importancia, ya que tiene problemas para hacer amigos, problemas en su hogar, vive de un abandono, es solitaria y vulnerable, es un buen personaje, muy bien escrito e Interpretado.

The performances are excellent, especially those of the two main characters; I start with Rachel Sennott who plays "PJ", I really liked this character, she is the typical character with a great attitude, very frontal, funny, but at the same time very immature, it is a perfect combination for this style of film and Sennott does it very well, I think it is even natural and it works; regarding Ayo Edebiri who plays "Josie", I like that she is the counterpart of PJ and that character is fearful, she is shy, she thinks a lot of things and that limits her, it stops her from reaching her true goals, Josie is another typical character in this style of films and Ayo plays it in an excellent way, she is also my favorite character in the film. There are other characters that I liked and what Ruby Cruz brings as "Hazel", is good; that character is fun, but presents a different need than what PJ and Josie have, I won't say that it is more real, I will say that it possibly has importance, since she has problems making friends, problems at home, lives from abandonment, she is lonely and vulnerable, she is a good character, very well written and interpreted.

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La pasé muy bien viendo Bottoms, tenía cero expectativas y no esperaba que fuera tan divertida, es una buena comedia que por su historia usa muy bien los diálogos y en momentos lo físico para cumplir en el aspecto de hacer reír, me gusta que sea real, que relate problemas que preferiblemente en las escuelas primarias, esa presión de hacer algo para sentir que estás en un permitido o exigido nivel y así encajar mejor en una nueva etapa, me gusta que relate problemas más profundos, pero así como señalo lo excelente en el manejo de lo real, también debo decir que como sátira funciona muy bien, es lo que más me ha gustado, esa crítica hacia el feminismo es excelente y sobre la violencia posiblemente sea lo que más me ha impactado, digo esto porque de tanto minimizar causas y consecuencias de hechos lamentables, en esta historia se ve una generación que no se hace responsable por cosas irreparables, todo desde un punto de vista cómico, muy cómico. Recomiendo este film el cual pueden conseguir desde hace dos semanas en Amazon Prime Video.

I had a great time watching Bottoms, I had zero expectations and I did not expect it to be so funny, it is a good comedy that for its story uses very well the dialogues and at times the physical to fulfill the aspect of making you laugh, I like that it is real, that it relates problems that preferably in elementary schools, that pressure to do something to feel that you are in a permitted or required level and thus fit better in a new stage, I like that it relates deeper problems, But just as I point out the excellent handling of the real, I must also say that as satire it works very well, it is what I liked most, that criticism of feminism is excellent and about violence is possibly what has impacted me most, I say this because of both minimize causes and consequences of regrettable events, in this story we see a generation that is not responsible for irreparable things, all from a comic point of view, very funny. I recommend this film which you can get from two weeks ago on Amazon Prime Video.

Many movie studios can even be considered a veritable “Pandora’s box” when deciding to produce a movie. Generally, for contractual reasons full of rules and limitations, projects receive the necessary injection of money to be made, but often, even before everything starts to come to fruition, in a very obvious way (at least for those who follow cinema for more than close) it is clear that the result will be bad.

The signs can be very diverse, but basically, the names that are linked to a certain movie define whether it will be a success or a failure (at least at an early stage, before or after it is officially released). Directors, screenwriters, cast, producers and other professionals on the technical team. Every name that makes up the team and makes a movie counts, and if the public already recognizes these names, this can work in a positive or very negative way.

In this aspect, it all depends on the movies these people have made before. In the case of bad (or terrible) projects, the more these people are involved in the same new movie, the chance of it having a very negative repercussion is extremely high. This implies that, possibly, there will be a strong rejection by specialized critics and the general public, and a poor financial collection at the box office (whether worldwide or not).

This chaos is often announced so clearly that I'm surprised to see so many studios going ahead and spending a lot of time, money, and other resources trying to make some bad movie work. Even if there are some exceptions along the way (yes, they exist), when many “bad elements” are aggregated within the same project, the chances of them having a bad result are almost an “exact mathematical” calculation

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Muchos estudios cinematográficos pueden incluso considerarse una auténtica “caja de Pandora” a la hora de decidirse a producir una película. Generalmente, por motivos contractuales llenos de reglas y limitaciones, los proyectos reciben la inyección de dinero necesaria para realizarse, pero muchas veces, incluso antes de que todo empiece a concretarse, de forma muy obvia (al menos para quienes siguen el cine desde hace más de cerrar) está claro que el resultado será malo.

Los signos pueden ser muy diversos, pero básicamente, los nombres que se vinculan a una determinada película definen si será un éxito o un fracaso (al menos en una fase temprana, antes o después de su estreno oficial). Directores, guionistas, elenco, productores y demás profesionales del equipo técnico. Cada nombre que forma el equipo y hace una película cuenta, y si el público ya reconoce esos nombres, esto puede funcionar de forma positiva o muy negativa.

En este aspecto, todo depende de las películas que estas personas hayan hecho antes. En el caso de proyectos malos (o terribles), cuanto más se involucren estas personas en una misma nueva película, la probabilidad de que tenga una repercusión muy negativa es extremadamente alta. Esto implica que, posiblemente, habrá un fuerte rechazo por parte de la crítica especializada y del público en general, y una pobre recaudación económica en taquilla (ya sea a nivel mundial o no).

Este caos a menudo se anuncia con tanta claridad que me sorprende ver tantos estudios seguir adelante y gastar mucho tiempo, dinero y otros recursos tratando de hacer que una mala película funcione. Incluso si hay algunas excepciones en el camino (sí, existen), cuando se agregan muchos “elementos malos” dentro del mismo proyecto, las posibilidades de que tengan un mal resultado son casi un cálculo “matemático exacto”.

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Caos anunciado.

Muitos estúdios cinematográficos podem mesmo ser considerados como uma verdadeira “caixa de pandora” enquanto decidem produzir um filme. Geralmente, por motivos contratuais cheios de regras e limitações, os projetos recebem à injeção de dinheiro necessária para serem feitos, mas muitas vezes, antes mesmo de tudo começar a sair do papel, de maneira muito evidente (ao menos para quem acompanha cinema mais de perto) fica claro que o resultado será ruim.

Os indícios podem ser os mais diversos, mas basicamente, os nomes que estão ligados a um determinado filme definem se ele será um sucesso ou um fracasso (ao menos em um estágio inicial, antes ou depois dele ser oficialmente lançado). Diretores, roteiristas, elenco, produtores e demais profissionais da equipe técnica. Cada nome que compõe a equipe e faz um filme conta, e se o público já reconhece esses nomes, isso pode funcionar de maneira positiva ou bem negativa.

Neste aspecto, tudo depende dos filmes que essas pessoas já fizeram antes. No caso dos projetos ruins (ou péssimos), quanto mais essas pessoas estiverem envolvidas dentro de um mesmo novo filme, a chance de ele ter uma repercussão muito negativa é altíssima. Isso implica em dizer que, possivelmente, haverá uma forte rejeição por parte dos críticos especializados, do público mais geral, e uma arrecadação financeira ruim nas bilheterias (sejam elas mundiais ou não).

Esse caos muitas vezes é anunciado de uma maneira tão clara, que eu fico surpreso em ver muitos estúdios indo em frente e gastando muito tempo, dinheiro e tantos outros recursos para tentar fazer algum filme ruim funcionar. Mesmo que haja algumas exceções no meio do caminho (sim, elas existem), quando muitos “elementos ruins” estão agregados dentro de algum mesmo projeto, as chances deles terem um péssimo resultado é quase uma conta “matemática exata”.

Chilean filmmaker Fernando Guzzoni debuted very young. He began with a documentary and has subsequently devoted himself to fiction, attracting the attention of critics who have highly valued his productions. I think he has a lot to contribute, I like the subjects he deals with and especially in this film.

I had it pending for quite some time, a couple of days ago I could see this work. I notice some influences of another very famous Chilean filmmaker (can you guess?), both in the rhythm and in the tone of colors used, as well as an uncomfortable subject matter, which tries to stir the conscience. Although some facts are masked and it does not go a little deeper, I understand the point of view with which the director wanted to capture the story: the victim and his duality between truth and lies.

I saw this film after seeing the acclaimed Sound of Freedom and I found this Chilean film more dense and solid. Some other time I will give my opinion about the other film. But I prefer to recommend Blanquita, a less gimmicky, intimate film that really manages to make us uncomfortable with these atrocities that occur in our decadent society, because in real life there are no vigilantes stopping the bad guys Rambo style.

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El cineasta chileno Fernando Guzzoni debutó muy joven. Comenzó con un documental y posteriormente se ha dedicado a la ficción, llamando la atención de la crítica que ha valorado muy positivamente sus producciones. Creo que tiene mucho que aportar, me gustan los temas que aborda y especialmente en esta película.

La tenía pendiente desde hace bastante tiempo, hace un par de días pude ver este trabajo. Noto algunas influencias de otro cineasta chileno muy famoso (¿lo adivinan?), tanto en el ritmo como en el tono de colores utilizados, así como una temática incómoda, que intenta remover la conciencia. Aunque se enmascaran algunos hechos y no se profundiza un poco más, entiendo el punto de vista con el que el director ha querido plasmar la historia: la víctima y su dualidad entre la verdad y la mentira.

Vi esta película después de ver la aclamada Sound of Freedom y esta película chilena me pareció más densa y sólida. En otra ocasión daré mi opinión sobre la otra película. Pero prefiero recomendarles Blanquita, una película menos efectista, intimista y que realmente consigue incomodarnos con estas atrocidades que ocurren en nuestra decadente sociedad, porque en la vida real no hay justicieros deteniendo a los malos al estilo Rambo.

For me, one of the most heinous crimes is to violate the body, the intimacy of another person. If this human being is a child or an adolescent, it is worse. I have seen several movies that denounce this kind of facts, some more rightly than others. Most of them make my feelings rise. Repulsion, disgust, rage arise in me. When a film succeeds in stirring my mind and feelings in this way, I feel satisfied. The filmmaker's goal has been achieved, that the viewer gets his message.

That it does not remain only in the anecdotal. To show how the corrupt elite and their accomplices at all levels do everything possible to get out of the mess. Human justice has many flaws, it is a system that drags holes since antiquity. The powerful almost always find a hole through which to escape. Only in a few isolated cases does the opposite happen. Businessmen, politicians, celebrities. Anyone with economic power can play God.

The film is not only uncomfortable because of its subject matter. It is uncomfortable because it exposes how allegations of pederasty are handled when important people of prestige and high social status are involved. The victims of these despicable crimes will be violated again every time they are interrogated, when they have to answer the same questions over and over again, when they are evaluated by experts, when they are devoured by the media and when the judicial system itself does everything possible to dismiss the allegations. Such is the case of the character Blanquita, who in addition to being a key witness in a child abuse case, has been a victim of all of them for many years.

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Para mí, uno de los crímenes más atroces es violar el cuerpo, la intimidad de otra persona. Si este ser humano es un niño o un adolescente, es peor. He visto varias películas que denuncian este tipo de hechos, algunas con más acierto que otras. La mayoría de ellas hacen que mis sentimientos se eleven. Surgen en mí la repulsión, el asco, la rabia. Cuando una película consigue remover mi mente y mis sentimientos de esta manera, me siento satisfecho. El objetivo del cineasta se ha cumplido, que el espectador capte su mensaje.

Que no se quede sólo en lo anecdótico. Mostrar cómo la élite corrupta y sus cómplices a todos los niveles hacen todo lo posible para salir del embrollo. La justicia humana tiene muchos defectos, es un sistema que arrastra agujeros desde la antigüedad. Los poderosos casi siempre encuentran un hoyo por el que escapar. Sólo en algunos casos aislados ocurre lo contrario. Empresarios, políticos, famosos. Cualquiera con poder económico puede jugar a ser Dios.

La película no sólo es incómoda por el tema que trata. Es incómoda porque expone cómo se gestionan las denuncias de pederastia cuando hay personas importantes de prestigio y alto estatus social implicadas. Las víctimas de estos despreciables delitos volverán a ser violentadas cada vez que sean interrogadas, cuando tengan que responder una y otra vez a las mismas preguntas, cuando sean evaluadas por expertos, cuando sean devoradas por los medios de comunicación y cuando el propio sistema judicial haga todo lo posible por desestimar las denuncias. Tal es el caso del personaje Blanquita, que además de ser testigo clave en un caso de abusos a menores, ha sido víctima de todos durante muchos años.