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.

---

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.

---

---

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.

On my short time on Hive I have written about a couple of different series always trying to narrate what went down on certain episode but there are a few of them or actually different format content that is kinda hard for me to build up on my post like Basketball, Futbol, Comedy and now a narrated story on third person that is Fall of the House of Usher, the main reason because it takes time, when the story is narrated details are everywhere that create an image on your brain of how people react in at the scene, for example there is one part when Roderick said "Yes Im putting a bounty on your head" I can easy see his daughters with an amaze expression like WTF while his son Perry laugh at the rest, then that makes me react in the same way when writing my post, try to bring as much details possible with how I put up all this images trying to make sense at the same time giving my opinion on text, basically is a combination of text and images trying to tell a story.

The Fall of The House of Usher to me seem like a very cool "horror" story, not necessary horror like possession and demons but there will be a lot of killing, probably blood on a lot of scenes, there is revenge, a combination of all kind of evil and bad feelings everything happening within a family that is mainly hold together by a bank account, Roderick mention this when talking to his wife "....the only thing that they fear the worst is been out of his will" referring to his sons and daughters who are always close to him, including their loves one, if you look from the outside anyone would think they are such a perfect family always together but the truth is that the core was only him and his sister Madeline, I get to this conclusion based on episode one only, probably with the progress of the series my opinion changes, after all money is the only thing that can buy souls.

Episode one was very entertaining and at times it will spook you, keep you on the edge of your seat for a few minutes, does a good job at presenting the main topic of the series, it works with time lines going back and forward, already telling you whats coming up that is the death of all his sons and daughters, who have to do with their death and that even after many years his "dead" mother is still lurking around, I would agree with IMDB rating and give it a 7.5/10

Source

Source

Episode one starts with Roderick and his granddaughter next to him, at church; three of his child have died, they are now six of them dead, church is empty, I would assume because he wanted like that, his family is so prestigious if people are let in it would be a total shit show taking pictures, asking questions, people protesting, the Usher family was at a stupid level rich so there will always be those who hate them just for having that amount of money without much reason.

Roderick keeps having this hallucinations of a women with a mask and his dead child, they all had dramatic deaths, he even see them at the church all butcher up from the different ways they die but only him can see them.

Source

Roderick is on the pharmaceutic business, he is at the rock star level, press is always after him and probably why the church was empty but there is one man who only wants one picture and that's Roderick behind bars, Carl Lumbly does Attorney Dupin who has been after Roderick and his entire family for a very long time without luck, they are all always shield, bulletproof from everything in life, that's how much money they have that no body mess with them besides Roderick seems to be the type of guy who knows how to use and control power and nut just money.

Source

The creepy story begins when Roderick invites Auguste, Augi; to his first house where he use to live with his mother and sister, when Roderick got enough money he not only bought the house but the entire neighborhood and kept it the same, let it rood because he did went through hell and back on that place many times because of many reasons so the place work as a reminder that if he went through that he can overcome anything, that is my opinion after Roderick tell Auguste why he kept the place.

Roderick is ready to give up, accept all charges and go to jail but it seems he wants either Auguste to help him solve a mystery or help him escape a problem, creepy his dead mother shows up behind Roderick, can't see it on the screenshot but she is there, this is when the horror side of the story kicks in.

Source

We start with Roderick hell as a kid, live with his mother, Eliza; who didn't believe in doctors or medicine, at a point she got very sick, all her life work for a prick William Longfellow, CEO of Fortunato Pharmaceuticals, she devoted her life to that job but the moment that needed help and he was their only option William treat them like shit, I guess Eliza had a grudge against William probably for all those years, she always told her kids to stay away from him at all cost, she must had some strong reason.

Source

Elize dies for unknown reason, seem stupid but I guess its part of the story to make the audience feel sorry for Roderick and his sister Madeline, they had to build casket out of old wood and bury his mother in the backyard like a dog, big WTF; they had no family? no money? it was the 50's but come on, still I get the writer, they trying to build that feeling of sorrow for the kids.

Source

Remember how I mention Auguste was behind Roderick, his business and family, well during a trial he mention, no body confirm if this was true or not; that after many years of been behind his case he finally got a member of the family to confess and will serve as witness against the Usher family, this fire up Roderick against his children badly.

Source

One episode one they dont go into deep details of what each of his children does, few details but not their entire life

• Frederick
• Perry
• Camille
• Victorine
• Leo
• Tamerlane

They had different personalities, some care vary much about the family money, few don't, Frederick been the oldest male born waiting for his father to die to keep everything, Perry seem to want a life style of fame to the extreme, still there was three things that unite them, their father who rule the family with iron fist, aunt Madeline who is just as ruthless or worst than Roderick when it comes down to business and money.

Source

For now as I mention not many details about his child but after the trial Roderick calls for a family meeting, he got all of his family members to sign an very nasty NDA that will keep the out of the family for good if they were proof to be the mole within the family, he was straight and didn't loose any time to put a bounty on their head, $50 million all cash, no taxes, no bullshit for the one who brings the mole, they already know its one of them its a matter of time and greed to find out who is it.

Source

While the episode keeps very clear the money situation at the family and that all six children will have a nasty death it still a mystery of how this all happen, the women with the creepy smile, Verna; a women who they Roderick and Madeline met on 1979 new years eve at a local bar, she use phrases like "To 1979. May it rest in peace" or "the future is coming" like she knew something was about to happen while she kept them both at the bar where they were suppose to stay just for a short time, she seem to be the one appearing to Roderick at church, there is also a Joker who shows up inside his car when he was leaving church and then falls backwards, bleeding from his knows telling Madeline its time, but time for what? is Verna really who kill his child? is his mother dead but still wondering around their old house?

Movies has turn smiles into something creepy and evil, with proper makeup their eyes pop and creates this image of people been posses by something looking very evil, like a new thing from horror movies, I feel like that is a key element to this series, we will see Verna smiling a lot, episode one does a great job of giving you just enough information about how the family members die and probably who did it without too much so you can figure out everything from the start, gives the beginning and the end but not the details and that's what the others episodes will be base on, stretching the story enough, clever way to create a tv series narrated by the main character Roderick, this is an eight episode mini series there has been some time since I saw a horror base tv series so I'm really going to enjoy it although covering all the details on a post can be a little tedious because it makes a long post, longer than usual.

Synopsis: Jess and Bill Walker are a loving couple who try to keep their family together at all costs, especially at such a special time as Christmas. However, after a completely unexpected event, the entire family switches bodies and makes important discoveries about themselves.

The Christmas spirit is in the air, and in this new Netflix original movie, the magic of this season is portrayed through a body swap that takes place between an entire family (a mother, a father, three children and a dog). It happens to them that they visit an observatory to see the alignment of the planets. Mysteriously, the mother switches places with her daughter, the father switches places with the eldest son and the youngest son switches bodies with the dog (yes, with the dog). What happens next is a series of events that develop the movie in a synergistic and even very entertaining way.

Arroba Nerd

Even though the script was written with the strength of a thin thread (because the plot is really something shallow and in need of greater inspiration), everything behind the essence of the central idea is relatively well worked out and as far as possible, manages to deliver genuine entertainment to the audience. The opening minutes are embarrassing and reflect an idea that doesn't match the rest of the project, so don't be fooled by its “chaotic” beginning with an extremely childish approach because what happens later brings more useful life to the entire project.

In the midst of a partially confusing execution, the movie finds its own tone amidst everything that is happening. The dynamics between the characters are very interesting (and in part, this is a credit to the cast) and even though at times there is momentary confusion over the dialogues when all the characters appear together or are in pairs talking about a third character (being This is the most negative point of the movie because everything moves very quickly and sometimes it is difficult to “connect the wires” to connect the motivations of each of them), the plot is entertaining.

The Hollywood Reporter

It's not an original idea, but the fact of involving the whole family in a collective body swap brings an “air” of originality and creates a fun chaotic atmosphere on screen. The personalities of each character are very well crafted: the mother is a workaholic, the father is resentful of the fame he left behind with a musical band, the daughter only thinks about playing football and fights to get a place on the national team. and the eldest son is very nerdy and has a pronounced socialization problem. When all this changes places, hilarious situations happen.

Apparently silly, the script opens up somewhat unexpected paths and delivers good “dramatic” moments that strengthen the entire narrative, but always maintaining its more comical tone. The project's identity is very visible, but it is very interesting to see that not even the limitation of the text diminishes the effectiveness of its approach. Little by little the plot intertwines the characters in their new bodies in a very dynamic way, with a presentation of personal conflicts that involve them all within the same personal and professional context.

Film Fugitives

Good jokes are spread throughout the movie, and although some of them are quite embarrassing, the overall balance of the project is very good (considering what the script sets out to do, of course). The speed at which all the situations happen sometimes hinders the rhythm of the narrative (because the tone is very “urgent” for a comedy with a very simple content), but at the same time, it helps to connect all the characters (with their changed personalities) and increases the audience's empathy for them. At the end of it all, this is the script: simple characters, with a motivational message.

Don't wait for further explanations about the event that causes the exchange of bodies between them, because this has no relevance here (and there is nothing in the movie that explains this other than the alignment of the planets and also the presence of a mysterious lady who appears out of nowhere and also seems to understand how “broken” the Walker family is). The script's asset is working with a solid (albeit silly) base to create a relevance that goes a little further than the comedy itself. The simplicity of ideas makes this project something much bigger than it is.

Leisurebyte

Unexpectedly directed by McG (I really can't see him directing a movie with this tone) with a very uncompromising (and surprisingly acceptable) look, Family Switch is a movie that can be easily sold because it has a fun, functional plot and also because it has a a very well-connected cast (Jennifer Garner, Ed Helms, Emma Myers and Brady Noon clearly had a lot of fun working here, in addition to the special presence of Rita Moreno). Without a doubt, it is a good recommendation for those who enjoy a light comedy movie, but which has something more to say.

---

CRÍTICA DE PELÍCULA: “Familia revuelta” (2023)

Sinopsis: Jess y Bill Walker son una pareja amorosa que intenta mantener unida a su familia a toda costa, especialmente en una época tan especial como la Navidad. Sin embargo, después de un evento completamente inesperado, toda la familia cambia de cuerpo y hace importantes descubrimientos sobre sí mismos.

El espíritu navideño está en el aire, y en esta nueva película original de Netflix, la magia de esta temporada se retrata a través de un intercambio de cuerpos que tiene lugar entre toda una familia (una madre, un padre, tres hijos y un perro). Les sucede que visitan un observatorio para ver la alineación de los planetas. Misteriosamente, la madre cambia de lugar con su hija, el padre cambia de lugar con el hijo mayor y el hijo menor cambia de cuerpo con el perro (sí, con el perro). Lo que sucede a continuación es una serie de acontecimientos que desarrollan la película de forma sinérgica e incluso muy entretenida.

Si bien el guión fue escrito con la fuerza de un hilo fino (porque la trama es realmente algo superficial y necesitado de mayor inspiración), todo lo que hay detrás de la esencia de la idea central está relativamente bien trabajado y en la medida de lo posible, logra ofrecer entretenimiento genuino a la audiencia. Los primeros minutos son embarazosos y reflejan una idea que no casa con el resto del proyecto, así que no os dejéis engañar por su inicio “caótico” con un planteamiento tremendamente infantil porque lo que sucede después da más vida útil a todo el proyecto.

En medio de una ejecución parcialmente confusa, la película encuentra su propio tono en medio de todo lo que sucede. La dinámica entre los personajes es muy interesante (y en parte esto es crédito para el elenco) y aunque por momentos hay confusión momentánea en los diálogos cuando todos los personajes aparecen juntos o están en parejas hablando de un tercer personaje (siendo este es el punto más negativo de la película porque todo avanza muy rápido y a veces cuesta “conectar los cables” para conectar las motivaciones de cada uno de ellos), la trama es entretenida.

No es una idea original, pero el hecho de involucrar a toda la familia en un intercambio de cuerpos colectivo aporta un “aire” de originalidad y crea una atmósfera caótica y divertida en la pantalla. Las personalidades de cada personaje están muy bien elaboradas: la madre es adicta al trabajo, el padre está resentido por la fama que dejó atrás con una banda musical, la hija sólo piensa en jugar al fútbol y lucha por conseguir un lugar en la selección nacional. El hijo mayor es muy nerd y tiene un pronunciado problema de socialización. Cuando todo esto cambia de lugar, suceden situaciones hilarantes.

Aparentemente tonto, el guión abre caminos un tanto inesperados y entrega buenos momentos “dramáticos” que fortalecen toda la narrativa, pero manteniendo siempre su tono más cómico. La identidad del proyecto es muy visible, pero es muy interesante comprobar que ni siquiera la limitación del texto disminuye la eficacia de su planteamiento. Poco a poco la trama entrelaza a los personajes en sus nuevos cuerpos de forma muy dinámica, con una presentación de conflictos personales que los involucran a todos dentro de un mismo contexto personal y profesional.

Buenos chistes se reparten a lo largo de la película, y aunque algunos de ellos resultan bastante embarazosos, el balance general del proyecto es muy bueno (teniendo en cuenta lo que se propone el guión, claro). La velocidad con la que suceden todas las situaciones a veces dificulta el ritmo de la narración (porque el tono es muy “urgente” para una comedia con un contenido muy simple), pero al mismo tiempo ayuda a conectar a todos los personajes (con sus personalidades cambiadas) y aumenta la empatía de la audiencia hacia ellos. Al final de todo, este es el guión: personajes sencillos, con un mensaje motivador.

No esperen más explicaciones sobre el evento que provoca el intercambio de cuerpos entre ellos, porque esto no tiene relevancia aquí (y no hay nada en la película que explique esto más que la alineación de los planetas y también la presencia de un misterioso señora que aparece de la nada y también parece entender lo “rota” que está la familia Walker). La ventaja del guión es trabajar con una base sólida (aunque tonta) para crear una relevancia que va un poco más allá de la propia comedia. La sencillez de ideas hace de este proyecto algo mucho más grande de lo que es.

Inesperadamente dirigida por McG (realmente no lo veo dirigiendo una película con este tono) con una apariencia muy intransigente (y sorprendentemente aceptable), Familia revuelta es una película que se puede vender fácilmente porque tiene una trama divertida y funcional y también porque tiene un elenco muy bien conectado (Jennifer Garner, Ed Helms, Emma Myers y Brady Noon claramente se divirtieron mucho trabajando aquí, además de la presencia especial de Rita Moreno). Sin duda, es una buena recomendación para quienes disfrutan de una película de comedia ligera, pero que tiene algo más que decir.

---

CRÍTICA DE FILME: “Trocados” (2023)

Sinopse: Jess e Bill Walker são um casal apaixonado que tenta manter à família unida a todo custo, especialmente em uma época tão especial como o Natal. No entanto, depois de um evento totalmente inesperado, a família inteira troca de corpos e fazem descobertas importantes sobre si mesmos.

O espírito natalino está no ar, e neste novo filme original da Netflix, a magia desta época é retratada por uma troca de corpos que acontece entre uma família inteira (uma mãe, um pai, três filhos e um cachorro). Isso acontece deles que eles visitam um observatório para ver o alinhamento dos planetas. Misteriosamente a mãe troca de lugar com a filha, o pai troca de lugar com o filho mais velho e o filho mais novo troca de corpo com o cachorro (sim, com o cachorro). O que acontece a seguir é uma série de eventos que vai desenvolvendo o filme de maneira sinérgica, e até bem divertida.

Mesmo que o roteiro tenha sido escrito com a força de um fino fio (porque a trama é realmente algo raso e carente de uma maior inspiração), tudo o que há por trás da essência da ideia central é relativamente bem trabalhado e na medida do possível, consegue entregar um entretenimento genuíno para o público. Os minutos iniciais são constrangedores e refletem uma ideia que não condiz com o restante do projeto, então, não se deixe enganar pelo seu início “caótico” de abordagem extremamente infantilizada porque o que acontece depois vai trazendo mais vida útil para todo o projeto.

No meio de uma execução parcialmente confusa, o filme vai encontrando o seu próprio tom em meio a tudo o que vai acontecendo. A dinâmica entre os personagens é bem interessante (e em partes, isso é um mérito do elenco) e mesmo que em alguns momentos haja uma confusão momentânea sobre os diálogos quando todos os personagens aparecem juntos ou estão em duplas falando sobre um terceiro personagem (sendo este o ponto mais negativo do filme porque tudo fica muito rápido e às vezes é difícil “ligar os fios” para conectar as motivações de cada um deles), a trama diverte.

Não se trata de uma ideia original, mas o fato de envolver toda a família em uma troca de corpos coletiva traz um “ar” de ineditismo e cria uma atmosfera divertidamente caótica na tela. As personalidades de cada personagem são muito bem trabalhadas: a mãe é viciada em trabalho, o pai é um ressentido com a fama que deixou para trás com uma banda musical, a filha só pensa em jogar futebol e luta para conseguir uma vaga no time nacional e o filho mais velho é muito nerd e tem um acentuado problema de socialização. Quando tudo isso muda de lugar, as situações hilárias acontecem.

Aparentemente bobo, o roteiro vai desbravando caminhos um tanto quanto inesperados e entregando bons momentos “dramáticos” que fortalecem toda à narrativa, mas sempre mantendo o seu tom mais cômico. A identidade do projeto é muito visível, mas é bem interessante ver que nem mesmo a limitação do texto diminui a eficácia da sua abordagem. Pouco a pouco a trama vai entrelaçando os personagens em seus novos corpos de uma maneira muito dinâmica, com uma apresentação de conflitos pessoais que envolvem todos eles dentro de um mesmo contexto pessoal e profissional.

Boas piadas estão espalhadas por todo o filme, e embora algumas delas sejam bem constrangedoras, o saldo geral do projeto é muito bom (considerando o que o roteiro se propõe a fazer, é claro). A velocidade na qual todas as situações acontecem às vezes atrapalha o ritmo da narrativa (porque o tom fica muito “urgente” para uma comédia de teor bem simples), mas ao mesmo tempo, ajuda a conectar todos os personagens (com suas personalidades trocadas) e aumenta a empatia do público por eles. No final de tudo o roteiro isso: personagens simples, com uma mensagem motivacional.

Não espere por maiores explicações sobre o evento que proporciona a troca de corpos entre eles, porque isso não tem a menor relevância aqui (e não há nada no filme que explique isso além do próprio alinhamento dos planetas e também a presença de uma senhora misteriosa que aparece do nada e também parece entender o quanto a família Walker está “quebrada”). O trunfo do roteiro é trabalhar com uma base sólida (ainda que boba) para criar uma relevância que vai um pouco mais além da própria comédia. A simplicidade de ideias torna este projeto em algo bem maior do que ele é.

Inesperadamente dirigido por McG (eu realmente não consigo ver ele dirigindo um filme com este tom) com um olhar bem descompromissado (e supreendentemente aceitável), Trocados é um filme que consegue ser vendido facilmente por ter uma trama divertida, funcional e também por ter um elenco muito entrosado (Jennifer Garner, Ed Helms, Emma Myers e Brady Noon nitidamente se divertiram bastante trabalhando aqui, além da presença especial de Rita Moreno). Sem dúvidas, é uma boa recomendação para que curte um filme de comédia leve, mas que tem algo a mais para dizer.

De las muchas películas que he visto sobre asesinos a sueldo, nunca pensé que cada una compartiera ciertos clichés, en especial lo de ser meticulosamente detallistas, mostrar perfección en su rutina, en el compromiso de su trabajo y algo muy importante, insensibilidad hacia sus objetivos y justamente es eso lo que relaciona a cada una de esas historias, es lo importante del film, ya que llega un momento en que la famosa frase "No es personal, solo negocios" se borra y claramente se convierte en algo personal, es el momento en dónde la aparición de un sentimiento intensifica los motivos del personaje principal convirtiendo o no atractiva a una producción; se podrá pensar que cada film de ese estilo es igual y sí, por supuesto que tienen similitudes, pero como siempre he dicho, todo depende de la manera de mostrar en imágenes y relato a cada historia.

Of the many films I have seen about hired killers, I never thought that each one shared certain clichés, especially that of being meticulously detailed, showing perfection in their routine, in the commitment of their work and something very important, insensitivity towards their targets and that is precisely what relates each of these stories, It is the important thing about the film, since there comes a moment when the famous phrase "It's not personal, just business" is erased and clearly becomes something personal, it is the moment when the appearance of a feeling intensifies the motives of the main character making or not attractive to a production; You may think that every film of this style is the same and yes, of course they have similarities, but as I have always said, it all depends on the way of showing each story in images and storytelling.

Fuente / Source

"The Killer", es un thriller de acción, la cual es la nueva producción de Netflix y posiblemente una de las películas más esperadas del año; está basada en una novela gráfica francesa escrita por Alexis "Matz" Nolent e ilustrada por Luc Jacamon y relata la historia de un asesino a sueldo, un hombre lleno de rutina, compromiso y determinación lo cual en un momento inesperado falla en un trabajo y eso desencadena ciertas consecuencias que podrán quebrarlo o darle un motivo para demostrar porque es el mejor.

"The Killer", is an action thriller, which is the new Netflix production and possibly one of the most anticipated films of the year; it is based on a French graphic novel written by Alexis "Matz" Nolent and illustrated by Luc Jacamon and tells the story of a hired killer, a man full of routine, commitment and determination which in an unexpected moment fails in a job and that triggers certain consequences that may break him or give him a reason to prove why he is the best.

Fuente / Source

He visto varias producciones dirigidas por David Fincher, preferiblemente las estrenadas en los 90' lo cual hizo obtener una gran base de fans por su estilo el cual encajó perfectamente en esa época, desarrolló un estilo, una marca personal y es por eso que en este film no debería suceder lo contrario; justamente las escenas que presenta ese estilo del director son las que más me han gustado, todas se benefician de una excelente fotografía y edición, todas nos va dando diferentes perspectivas de un mismo momento sin importar y es algo que me pareció genial; aparte de eso, existen otras escenas (pocas) que pareciera ser de otro estilo, de otro director y no sé si se hizo a propósito para demostrar una diferencia entre la vida personal y laboral de un mismo personaje, posiblemente sea lo que menos ha gustado a sus fans, pero no resta al trabajo del director, pienso que esos momentos eran necesarios para el desarrollo de una historia muy simple.

El guion fue escrito por Andrew Kevin Walker, quien anteriormente trabajó con Fincher, en "Seven" y para esta oportunidad crea una relato sobre la perspectiva de un hombre al realizar su trabajo, el profesionalismo, el error humano, la responsabilidad, confianza y desconfianza y la reacción humana al momento de resolver un problema, no tengo duda que está película con algún que otro entendible cambio, puede funcionar en dónde el protagonista deba cumplir con otro tipo de empleo, creo que los problemas con lo que debe lidiar no será tan diferentes. Otro aspecto del guion es con respecto al humor, Walker sabe implementar muy bien un sentido del humor oscuro en diferentes escenas, en especial al principio en dónde una situación "cómica" desencadena todo lo que veremos en esta historia; ahora existe otra característica y es lo directo, simple, sencillo de lo que es la historia desde su segundo y tercer acto, seguramente es lo que menos ha gustado, en mi opinión es lo que ofrece el guion, está es una historia de alguien que se cree perfecto y a pesar de un error, él está dispuesto a resolverlo de una manera tan contundente que no dejará duda de su profesionalismo.

I have seen several productions directed by David Fincher, preferably those released in the 90's which made him obtain a large fan base for his style which fit perfectly in that era, he developed a style, a personal brand and that is why in this film the opposite should not happen; precisely the scenes that present that style of the director are the ones that I liked the most, all benefit from excellent photography and editing, all of them give us different perspectives of the same moment regardless and it is something that I thought was great; apart from that, there are other scenes (few) that seem to be of another style, from another director and I don't know if it was done on purpose to show a difference between the personal and work life of the same character, possibly this is what fans liked the least, but it doesn't detract from the director's work, I think those moments were necessary for the development of a very simple story.

The script was written by Andrew Kevin Walker, who previously worked with Fincher, in "Seven" and for this opportunity he creates a story about the perspective of a man doing his job, professionalism, human error, responsibility, trust and distrust and the human reaction when solving a problem, I have no doubt that this film with some understandable change, can work where the protagonist must fulfill another type of job, I think the problems with what he must deal with will not be so different. Another aspect of the script is with respect to humor, Walker knows how to implement very well a sense of dark humor in different scenes, especially at the beginning where a "comic" situation triggers everything we will see in this story; now there is another characteristic and it is the direct, simple, simple of what the story is from its second and third act, surely it is what I liked the least, in my opinion is what the script offers, this is a story of someone who thinks he is perfect and despite a mistake, he is willing to solve it in such a forceful way that will leave no doubt of his professionalism.

Fuente / Source

La actuación de Michael Fassbender como "The Killer" es muy buena, este es un hombre arrogante y tiene razón de comportarse de esa manera porque es bueno en su trabajo, es meticuloso, detallista, pero como él mismo dice, no es perfecto, aunque su actitud y pensamiento sobre diferentes situaciones de la vida lo hace creer y ver que posiblemente sea así, él sabe que la perfección no existe; creo que esto es contradictorio en esta historia y en lo que es el personaje, me refiero a que tiene una definición real de su trabajo y de lo que él representa, pero no puede proyectarlo porque sabe que hay algo que vender y para eso es necesario demostrar que es el mejor que es perfecto; para hacer eso, Fassbender interpreta a alguien con cero humildad, pero también a alguien divertido, determinante, obsesivo y posiblemente egoísta, esto puede ser algo que se puede profundizar aún más en su personaje, que tan comprometido está con otras personas sabiendo que nunca debe confiar en nadie; me gustó mucho este personaje y el cómo está Interpretado, eso es porque Michael es un excelente actor y por eso no hay la necesidad de exageradas escenas de persecución, ni mucho menos grandes enfrentamientos que cambien la tónica de la historia.

The performance of Michael Fassbender as "The Killer" is very good, this is an arrogant man and he has reason to behave that way because he is good at his job, he is meticulous, detail oriented, but as he himself says, he is not perfect, although his attitude and thinking about different situations in life makes him believe and see that he is possibly so, he knows that perfection does not exist; I think this is contradictory in this story and in what the character is, I mean he has a real definition of his work and what he represents, but he can't project it because he knows that there is something to sell and for that it is necessary to demonstrate that he is the best and that he is perfect; to do that, Fassbender plays someone with zero humility, but also someone funny, determined, obsessive and possibly selfish, this can be something that can be further deepened in his character, how committed he is to other people knowing that he should never trust anyone; I really liked this character and how he is interpreted, that's because Michael is an excellent actor and that's why there is no need for exaggerated chase scenes, let alone big confrontations that change the tone of the story.

Fuente / Source

A pesar de que The Killer me gustó, estoy de acuerdo que no es el mejor film del repertorio de Fincher, creo que la decepción de no ver una tercera y última temporada de "Mindhunter" puede nublar mi opinión sobre esta nueva producción de este director para Netflix, pero creo que por supuesto hay mejores películas que él ha dirigido, pero les mentiría si digo que es un film que no vale la pena de ver o que es de lo peor del año; personalmente creo que es una manera diferente de relatar la historia de un asesino a sueldo, sé que tiene muchas similitudes con otras películas, pero hay otras en dónde aprecio que tenga diferencias por ejemplo el comportamiento de su protagonista el cual considero que usa de escusas las consecuencias de su fallo, para retomar los motivos del porqué realiza ese tipo de trabajo, ese impulso de ser el mejor aunque también aprende cosas nuevas, posiblemente a crecer, madurar, aspectos que lo conviertan en un mejor en su profesión. Si deciden ver esta película, mi recomendación es no tener altas expectativas, no comparar con otras películas de asesinos estrenadas en este año, disfruten de su primer acto y del segundo, lo cual en mi opinión son lo mejor del film junto a la actuación de Fassbender.

Although I liked The Killer, I agree that it is not the best film in Fincher's repertoire, I think the disappointment of not seeing a third and final season of "Mindhunter" may cloud my opinion about this new production of this director for Netflix, but I think of course there are better films that he has directed, but I would be lying if I say it is a film that is not worth watching or that it is one of the worst of the year; Personally I think it is a different way of telling the story of a hired killer, I know it has many similarities with other films, but there are others where I appreciate that it has differences for example the behavior of its protagonist which I consider that he uses the consequences of his failure as an excuse, to retake the reasons why he does that kind of work, that impulse to be the best although he also learns new things, possibly to grow, mature, aspects that make him a better in his profession. If you decide to see this movie, my recommendation is not to have high expectations, do not compare with other assassin movies released this year, enjoy its first and second act, which in my opinion are the best of the film along with the performance of Fassbender.

Episode five of Secret Invasion gives me a good idea of why viewers and fans were so mad about this series because you don't necessary need to be a hard core fan to get to that conclusion, things really pick up a pace here and it was just too fast, the series at least might need another two episodes so it doesn't feel that way, things did happen but they were closing matters scene after scene, probably concluding things just too fast.

Gravik is still after the Avengers DNA, he has a couple of abilities so far like transforming his lengths, arms; into roots so he can massively extend himself, pierce and make them also way bigger and heavy, another power he has is to regenerate himself from creating energy and what looks like super strength beast type but he still after other super powers but if you actually think about it Iron Man is very smart, Gravik is already strong as Hulk, may be control lighting like Thor but is that an ability of the hammer or himself?, the rest of the Avengers they all have suits or some other weapon except Captain Marvel and Captain America so what would he really need? only one I can think of is Captain Marvel's powers so he could fly? he keeps talking about the Harvest but not Gravik or Fury go deeper of why unless they only fear/want the outcome mix of powers that could end up into something extraordinary, I feel like the episode has lack of meaning or motivation because the war between humans ain't happening at this point after Fury clear things up by rescuing the President and soldiers saw Skrulls on the field, is up to Rhodey try to convince the president to start war against Russians.

Source

I found really cringe how after saving the President Fury feels all tough takes a chair and puts in front of the hall door where the president's room is at the hospital, not only because I knew he was not going to do shit, after all he is just human and for sure would not kill Rhodey on the spot if he comes close, besides he is never alone.

Source

I suspected right, Rhodey did show up and was not alone, he is a Skrull, has the government infiltrated so either all the agents with are human tricked thinking Rhodey is himself a human or a bunch of Skrull that are up to date of whats really going on, he has Fury by the balls with the video that shows up him killing Maria at the Russia Bombing trying to put more dirt on Fury, he had no other option to leave before getting killed of before people come after him when the video goes public so yes Fury didn't do shit and that's why the scene of him sitting at the hospital looking all mean was worthless. I don't appreciate when writers take a character and make it look what he is not, Fury has only one super power, same as Batman, Iron Man, that's his mind so been tough is not it.

Source

At Skrullos, Gravik is back and desperate, his plan to attack the US President and make it look like it was the Russian failed, although he did kill Thalos but Pagon, we can say Gravik second Skrull in command; was kind of mad at him and call him out because he had the chance to kill Fury and never did like he still a child waiting for Fury approval of attention. I have to give it to Gravik, Pagon was not looking at the big picture, Fury is the only one who knows where is the Harvest. To give a bit more of context, The Harvest is the recollection of the Avenger's DNA after the New York attack, Gravik knows of its existence because he was one of the Skrulls that work on that mission, lead by Fury a group of Skrulls were send out to collect and clean up Avenger's DNA from the battle field, I can't imagine how they did that, the reason? not sure either because as I mention only a few really has super powers, the rest are humans with great skills using special suits or weapons.

Source

At MI6 Sonya is cleaning up the house, taking down every Skrull she can find starting with the SIS chief Derrik, at first even Fury himself though that governments infiltrated by Skrulls was very unlikely although not impossible but after Thalos told him there were a million Skrulls at Earth, that number change things for him and put him and Sonya on alert that anyone could be a Skrull, but Sonya was a bit ruthless, shooting first and asking question after, its like she can smell them, latter on you will see why I say this.

Source

Source

Back at Skrullos after Gravik kill Pagon in front of the rest of his soldiers a revolution started, a group of other Skrulls understood Gravik was wrong, only those who were brave try to take him down but it was too much for them, Skrulls special ability is to shape shift, they are stronger than humans but not at Super Skrull, not at Gravik's level, when they jump Gravik and he loose his human form intermediately he got a bit taller and bigger, everything about him compared to other Skrulls that have show up so far look stronger, eventually he beat up everyone and make an example out of Beto, a Skrull who G'iah got into the camp; cuts his throat in front of everyone. I know this series could be intended for teenagers too but the fighting and killing scenes are just a bit turn down, there is not much blood, after fights characters dont look beat up and specially with Gravik fight scene there is something that I constantly critisize and that's how the transformation scenes are soo short you cant really appreciate it, its just seconds until he turns back to normal, that's really disappointing.

Source

On her journey to clear up MI6, Sonya now locates Dr. Rosa Dalton, who is the lead scientist of Gravik's Super Skrull experiments, she was working with her husband but here jumps in Sonya who right away knew Dr. Dalton is not himself anymore neither, after taking all the info that Sonya need she burn down their house and took them with her but Dalton attempt to take his "wife" Rosa as hostage and put a gun to her head trying to escape, little did he know and Sonya puts a bullet to his head some how she knew he was a Skrull. At fist I thought I would not like Sonya, this was back when she came up on episode one and had a conversation with Fury but I really like her, she is funny AF and always ahead of others.

Source

In his attempt to get the Harvest, Gravik tries to use Skrullos as leverage, ordering Rhodey to get the president to bomb Skrullos with the excuse that its a Skrull hideout at Russian soil, only problem is that the right way to proceed is to have the Russians work with US to take out the Skrulls but then again who is not a Skrull? they just hold this scene and nothing really happens about it on this episode, I'm ok with that, I don't think they are going to blow up Skrullos, not because there are Skrulls but because that would be start a war with Russia at the same time.

Source

There was a very cool shooting scene at Priscilla's place, G'iah goes looking for her to bury her father Thalos, Skrulls has certain ways and traditions, some of them G'iah didn't know about but she wanted to give her father a traditional Skrull funeral, G'iah might disagree with her father believes but still love him very much and now feels she must avenge him, bring down Gravik, after all Thalos was the OG Skrull general on Earth but he became old and soft.

Source

This last scene with Fury and Sonya getting up to date after she picks him up from the air port was cool, it gives more context to the Harvest, he gave her more details on how things really happen and why Gravik knows about it, but the part that I like the most is how Fury explains his only super power is his mind and that he doesn't need anything else to beat Gravik here comes the phrase "We cant keep depending on these superheroes"

First four episodes of secret invasion were fine, I didn't see any problem that was critical to me, the story was at an ok pace and not many details were lost but episode five turn things around, as I mention there was a void like some scenes needed more time to digest, I also think that from the start some how the story should make clear that the Avengers were not coming to help period, I think that probably mislead some viewers but not necessary the reason why I feel things start to rush, the Sonya scenes trying to clean up the UK and their agencies felt bit short, now that I think about it, it has been the same every time she shows up, the Fury scene at the start of the episode didn't help at all, I would prefer if it was the opposite saying he go and look for Rhodey and face him or something different but sitting there like he is Captain America make his character look stupid. I look up the ratings per episode at IMDB and you can tell how episode five and six are what took Secret it Invasion from a solid seven to a six down the drain, so I do not expect things to get better, some say its super hero exhausted but its really not, its the attention to detail and taking the time to explain things at a pace that viewers don't feel things are rushing up, this are the moment I would expect them to milk the story and they don't, if it had to do with lack of time because they were short on staff, Hollywood strike; then it was better just not to release and do it properly.

VERSIÓN EN ESPAÑOL (click aquí)

Buenos días, tardes o noches, damas y caballeros. Estamos acá reunidos en este pequeño post de Hive porque obviamente me he visto otra película y quiero compartirla ante ustedes, ¿el cómo la descubrí? te preguntarás, pues últimamente me salen puras recomendaciones en Facebook porque estoy en muchos de esos grupos de cine donde los usuarios viven matándose por qué película es buena y cuál no, que si Rotten Tomatoes sirve, que si vale más la opinión de la crítica o la del público, aunque siempre hay una que otra publicación buena que te recomienda películas como me pasó anteriormente con Chronicle y ahora con esta película que creo que es bastante desconocida debido a la poca taquilla que tuvo, supongo que es una película muy indie pero que en el protagónico tenemos a alguien de renombre. Lo que les vengo a presentar viene a hablar de forma muy superficial las consecuencias de las redes sociales y lo que sería capaz de hacer un ser humano para alcanzar la viralidad, por querer ser lo más famoso posible, ver crecer esos números, esas estadísticas, puede que de una forma muy exagerada pero quizás eso también forme parte de la crítica que quiere el director quiere proponer, el póster de la película la resume de una forma bastante sugerente para el espectador y que sube las expectativas de sobremanera, según es un American Psycho actual mezclado con los efectos de redes sociales. Así que sin más dilación, hablemos de Spree.

Good morning, afternoon or evening, ladies and gentlemen. We are here gathered in this small post of Hive because obviously I have seen another movie and I want to share it with you, how did I discover it? you will wonder, because lately I only get pure recommendations on Facebook because I am in many of those movie groups where users live killing each other because what movie is good and what is not, if Rotten Tomatoes works, if the opinion of the critic or the public is worth more, although there is always a good publication that recommends movies to me as happened before with Chronicle and now with this movie that I think is quite unknown due to the little box office it had, I suppose it is a very indie movie but in the leading role we have someone of renown. What I come to present comes to speak very superficially about the consequences of social networks and what a human being would be able to do to achieve virality, to want to be the most famous possible, to see those numbers grow, those statistics, it may be in a very exaggerated way but maybe that is also part of the criticism that the director wants to propose, the movie poster summarizes it in a quite suggestive way for the viewer and that raises expectations enormously, according to it is an American Psycho current mixed with the effects of social networks. So without further ado, let's talk about Spree.

_{[_Source_](https://www.themoviedb.org/movie/653598-spree/images/backdrops?language=es-ES)}

VERSIÓN EN ESPAÑOL (click aquí)

La película nos pone en la piel de Kurt un chico que desde muy joven ha intentado triunfar en redes sociales, subiendo vídeos a YouTube sobre su vida en su canal llamado El Mundo de Kurt, los cuales sinceramente no tienen muchas vistas y no logran atraer al público, muy pocas veces logra alcanzar las dos cifras en cuanto a visitas, pero todo cambiará de un momento a otro cuando decide hacer streamings no sin antes documentar su genial idea en YouTube para conseguir seguidores, la cual llama "La Lección". El método consiste prácticamente en crear un veneno y ponerlo en agua embotellada, para luego matar en vivo a los pasajeros (aunque después recurre a métodos más sanguinarios) de una app de transporte llamada Spree en la cual Kurt trabaja como conductor. Para poder transmitir en vivo, Kurt pone cámaras en todo el auto para cubrir distintos ángulos y así comenzará a mostrar su matanza al mundo la cual a pesar de todo no será reconocida, uno de sus únicos espectadores Bobby, un chico famoso del cual Kurt está celoso, no cree que ni los asesinatos sean reales y le dice que no está hecho para esto y es que en muchos momentos veremos la desesperación total de Kurt por conseguir seguidores quizás hasta queriendo usar tácticas antiguas con el follow por follow o rogarle a otras personas para que le etiqueten en sus historias. Aún así, con su metodología macabra Kurt finalmente alcanzará la fama que tanto quiso pero se le irá tan rápido como le llegó. Una loca historia de como un torpe psicópata hace hasta lo impensable para conseguir fama.

The movie puts us in the shoes of Kurt, a boy who since he was very young has tried to succeed on social media, uploading videos to YouTube about his life on his channel called Kurt's World, which frankly don't have many views and don't manage to attract the public, he rarely reaches two digits in terms of visits, but everything will change from one moment to the next when he decides to do live streamings, but not before documenting his great idea on YouTube to get followers, which he calls "The Lesson". The method consists of practically creating a poison and putting it in bottled water, and then killing the passengers (although later he resorts to more bloody methods) of a transportation app called Spree in which Kurt works as a driver. To be able to broadcast live, Kurt puts cameras in the whole car to cover different angles and thus begins to show his massacre to the world which, despite everything, will not be recognized, one of his only spectators Bobby, a famous boy of whom Kurt is jealous, does not believe that the murders are real and tells him that he is not made for this and that in many moments we will see Kurt's total desperation to get followers, perhaps even wanting to use old tactics with the follow for follow or begging other people to tag him in their stories. Even so, with his macabre methodology Kurt will finally reach the fame he so desired but it will leave him as quickly as it arrived. A crazy story of how a clumsy psychopath does the unthinkable to achieve fame.

_{[_Source_](https://2020.slashfilmfestival.com/en/films-2020/spree/)}

VERSIÓN EN ESPAÑOL (click aquí)

Cualquier persona sensata habría tomado otro camino, intentando de otras formas pero el empeño de Kurt por ser famoso sacó a relucir a su verdadera naturaleza, sigue siendo igual de torpe pero muy siniestro a la hora de actuar, incluso se le llega a ver cómo alguien inocente y que desconoce cómo de verdad funcionan las redes, él desde comienzo está en una desesperación constante, solo quiere ver crecer los números y cuando lo va logrando conforme va matando no puede parar, quiere seguir porque ese número ahora lo controla a él, lo que dice la gente del chat tiene una relevancia abismal en su actuar, ya no actúa por su cuenta, actúa para complacer a quienes le ven. Dentro de los espectadores incluso están quienes son escépticos, quienes no creen en nada de lo que ven en internet, muchos hemos visto a esas personas en cajas de comentarios, se niegan a creer en el contenido del vídeo y directamente dicen que es falso, así sin más por ende esto termina causando que cuando Kurt asesine no sea reportado, piensan que es una broma de éstas falsas que se pueden encontrar por montones en internet, ya nadie sabe qué es real ni qué es mentira, tenemos tanto contenido que no podemos distinguir de qué certeramente está manipulado o no. No hay muchos más que decir la verdad, es una crítica muy superficial a las redes sociales, sus consecuencias y qué tan lejos sería una persona capaz de hacer para conseguir fama, no se ahonda en temas más profundos pero Kurt me hizo recordar especialmente a los asesinos de masas que escriben un manuscrito y lo publican en internet antes de cometer sus actos, logran esa fama efímera que no sirve para nada.

Any reasonable person would have taken another path, trying other ways but Kurt's insistence on being famous brought out his true nature, he is still as clumsy but very sinister when it comes to acting, you can even see him as someone innocent and who does not know how the networks really work, he is in a constant desperation from the beginning, he only wants to see the numbers grow and when he is achieving it as he is killing he can not stop, he wants to continue because that number now controls him, what the people in the chat say has an abyssal relevance in his acting, he no longer acts on his own, he acts to please those who see him. Among the spectators are even those who are skeptical, those who do not believe in anything they see on the Internet, many of us have seen those people in comment boxes, they refuse to believe in the content of the video and directly say that it is false, so without more Therefore, this ends up causing Kurt not to be reported when he assassinates, they think it is one of these false jokes that can be found by the dozen on the Internet, now no one knows what is real or what is false, we have so much content that we can not distinguish what is certainly manipulated or not. There are not many more to say the truth, it is a very superficial criticism of social networks, their consequences and how far a person would be willing to do to get fame, it does not delve into deeper issues but Kurt made me remember especially the mass murderers who write a manuscript and publish it on the Internet before committing their acts, they achieve that fleeting fame that is useless.

_{[_Source_](https://ocioworld.wordpress.com/2020/08/18/spree-critica-una-mordaz-critica-a-los-influencers-y-followers-que-se-desinfla-antes-de-lo-esperado/)}

VERSIÓN EN ESPAÑOL (click aquí)

Mi hipótesis de que se inspiraron en eso agarra más fuerza cuando va finalizando la película y vemos que Kurt es recordados en solo algunas páginas de internet siendo venerado en 4chan por ejemplo, lugar donde ha ocurrido lo que he mencionado anteriormente, en cuantos a los medios convencionales prefieren ni nombrarlo para no darle el reconocimiento que él quería. Lo que se ha de aplaudir durante toda la cinta es la interpretación de Joe Keery, quien logra interpretar a la perfección a una persona que es bastante incómoda de ver en cámara, que ruega por la atención de la gente además de tonto pero que es frío y calculador en su faceta de psicópata, no le importa matar y se alegra de haberlo hecho frente a cámara sintiéndose orgulloso ante la oportunidad de hacerse viral, una demostración actoral excelente. En cuanto a las tomas de la película se me hizo bastante curioso, es un estilo documental donde nuestro protagonista Kurt nos va narrando lo que hace con las cámaras que tiene a su disposición, en muchos casos lo que vemos parece una sátira en toda regla. Algunos puntos de la película son inesperados, hay una especie de plot twist al final pero lo que me agarró fuera de base fue el hecho del primer asesinato, solo porque no lo muestran como tal, no sabes que está muerto hasta que ves los siguientes, está bastante bien logrado ese efecto de impacto para quienes quizás no habían leído la sinopsis de la película. No es una gran maravilla pero cumple con su objetivo de entretener, la considero como una buena película que debes ver por lo menos una vez.

My hypothesis that they were inspired by that gains more strength when the movie is finishing and we see that Kurt is only remembered in a few pages of the internet, being venerated in 4chan for example, a place where what I mentioned before has happened, in terms of conventional media they prefer not to mention him at all, in order not to give him the recognition that he wanted. What should be applauded throughout the film is the interpretation of Joe Keery, who manages to perfectly interpret a person who is quite uncomfortable to see on camera, who begs for people's attention in addition to being stupid but who is cold and calculating in his facet of psychopath, he doesn't care about killing and he's glad he did it in front of the camera, feeling proud of the opportunity to go viral, an excellent acting demonstration. As for the shots of the film, it struck me as quite curious, it's a documentary style where our protagonist Kurt tells us what he does with the cameras he has at his disposal, in many cases what we see looks like a satire in every rule. Some points of the film are unexpected, there is a kind of plot twist at the end but what caught me out of base was the fact of the first murder, only because they don't show it as such, you don't know he's dead until you see the next ones, it's quite well achieved that effect of impact for those who perhaps had not read the synopsis of the film. It's not a great wonder but it fulfills its purpose of entertaining, I consider it as a good movie that you should watch at least once.

---

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

___

Yesterday I was talking to some friends about the different paths that superhero movies could take with a possible shake-up within the movie industry. Even though I am not an enthusiast of this type of “subgenre” of the Seventh Art, I recognize that they help to expand, disseminate and expand a part of pop culture that is essential (beyond the purely financial part) to maintain the public's interest in these types of projects.

In the midst of this conversation, many good arguments came to light and this helped keep the discussion on track. However, I was impressed to see how most of them still defend (almost blindly) the mistakes that were made by the big studios. This seems like a somewhat antagonistic stance to me, considering the fact that practically all of them are fans of superhero movies and have an interesting view of the world of cinema.

Despite assuming that the big studios have ruined countless cartoons and comic books with adaptations and movie franchises with terrible scripts, they do not assume that these same films are essentially bad. There is always one excuse or another (by the way, well-founded... despite being flawed) regarding this, making them believe that they serve as a kind of mitigating factor to alleviate the losses.

In a “parallel world”, it's as if they enjoy being fooled by these big studios, because no matter how many mistakes have already been made by them, when some new superhero movie hits theaters, they stay true to them, going to honor the new product launched. This cycle always repeats itself, and it is likely that this is why mistakes that are already well-known and seen in so many superhero movies are still so persistent worldwide.

---

Engáñame una vez. Engáñame dos veces.

Ayer hablaba con unos amigos sobre los diferentes caminos que podrían tomar las películas de superhéroes ante una posible sacudida dentro de la industria cinematográfica. Si bien no soy un entusiasta de este tipo de “subgénero” del Séptimo Arte, reconozco que ayudan a expandir, difundir y expandir una parte de la cultura pop que es fundamental (más allá de la parte puramente financiera) para mantener el interés del público. en este tipo de proyectos.

En medio de esta conversación, salieron a la luz muchos buenos argumentos y esto ayudó a mantener la discusión encaminada. Sin embargo, me impresionó ver cómo la mayoría de ellos todavía defienden (casi a ciegas) los errores que cometieron los grandes estudios. Esto me parece una postura un tanto antagónica, teniendo en cuenta que prácticamente todos son fanáticos del cine de superhéroes y tienen una visión interesante del mundo del cine.

A pesar de asumir que los grandes estudios han arruinado innumerables dibujos animados y cómics con adaptaciones y franquicias cinematográficas con guiones terribles, no asumen que esas mismas películas sean esencialmente malas. Siempre hay una u otra excusa (por cierto, bien fundada… aunque errónea) al respecto, haciéndoles creer que sirven como una especie de atenuante para paliar las pérdidas.

En un “mundo paralelo”, es como si disfrutaran de ser engañados por estos grandes estudios, porque no importa cuántos errores ya hayan cometido, cuando alguna nueva película de superhéroes llega a los cines, se mantienen fieles a ellos, va an honrar el nuevo producto lanzado. Este ciclo siempre se repite, y es probable que por eso errores ya conocidos y vistos en tantas películas de superhéroes sigan siendo tan persistentes a nivel mundial.

---

Me engane uma vez. Me engane duas vezes.

Ontem eu estava conversando com alguns amigos sobre os diferentes caminhos que os filmes de super-heróis podem seguir com uma possível reformulação dentro da indústria cinematográfica. Mesmo eu não sendo um entusiasta deste tipo de “subgênero” da Sétima Arte, eu reconheço que eles ajudam a expandir, difundir e expandir uma parte da cultura pop que é essencial (além da parte unicamente financeira) para manter o interesse do público nestes tipos de projetos.

No meio dessa conversa, muitos argumentos bons vieram à tona e isso ajudou a manter à discussão nos trilhos. Porém, eu fiquei impressionado em ver como a maioria deles ainda defende (quase que cegamente) os erros que foram feitos pelos grandes estúdios. Esse me parece um posicionamento um tanto quanto antagônico, considerando o fato de que praticamente todos eles são fãs de filmes de super-heróis e que tem uma visão interessante sobre o mundo do cinema.

Apesar de assumirem que os grandes estúdios já estragaram incontáveis desenhos animados e histórias em quadrinhos com adaptações e franquias cinematográficas com péssimos roteiros, eles não assumem que esses mesmos filmes são essencialmente ruins. Há sempre uma desculpa ou outra (por sinal, bem fundamentada... apesar de serem falhas) com relação a isso, fazendo-os acreditar que elas servem como uma espécie de fator atenuante para amenizar os prejuízos.

Em um “mundo paralelo”, é como se eles gostassem de ser enganados por esses grandes estúdios, porque não importa quantos erros já tenham sido cometidos por eles, quando algum novo filme de super-herói chega aos cinemas, eles se mantêm fiéis a eles indo prestigiar o novo produto lançado. Esse ciclo se repete sempre, e é bem provável que seja por isso que erros já tão conhecidos e vistos em tantos filmes de super-heróis ainda sejam tão persistentes mundialmente.

Episode five of Daryl Dixon will answer many questions, from why Daryl ended in France, why Genet wants him, I would not say dead but lock down at least even before Codron, Daryl always kept saying he ended up in France because he join the wrong people and he was looking for something new out there but on this episode the truth comes to light, same goes for Genet experiments with Zombies, everything comes together and start to build up for next season.

I believe this new format of six episode season for spinoff series can't build up enough momentum for itself with the short amount of episodes, a lot can happen in one hour with the magic of TV, adding two or if possible four episodes more then gives the story enough time for one last kick, on Daryl Dixon spinoff the series is going to fall short and viewers will have to wait until season two to really find out why he left home and now is trying to get back to Carol, we now know how he got to France but not what exactly he was looking for.

Source

Not much is reveal about the Nest, the place where Azlan and Daryl are taking Laurent, from his description all been said is that its a quite place, peaceful and might be an island from a watch Azlan carry with the Nest engrave, the name Nest most like was given after the Zombie Apocalypse, living in an island is one of the most reasonable places to be at during such times as long as you have a way to go in and out of the island, after all Zombies can't swim, but I wonder if they float?? on this very same series we saw a Daryl been attack by Zombies under water.

Source

I took this screenshot above mainly because it reminds me of the original Walking Dead series, how many times we didn't see Daryl pushing a bike with his cross bow on it, such a classic it made its way to his spinoff, he cross path with Jones a man who has a camp, looking for hunters who want to work, Daryl is out of gas so makes sense if he gets paid to buy some and get back home.

Source

At the camp there were others wanting to work with Jones, the man behind this camp, paying everyone was Dr. Lafleur, who was paying very well for Zombies, even more for fresh ones but that open, rules were simple

• No fights
• No stealing
• Nothing sexual

I get the two first rule but what the hell is sexual about a bunch of guys hunting Zombies, its the apocalypse so I guess there are not many women around so some might change their sexual preferences, who knows.

Source

Daryl got to work and start impressing other with his skills, if he was getting paid for catching Zombies I guess he was going to pull a Raikkonen, for F1 fans; and make the company go broke with the amount of Zombies he was getting, one after another, the part is that he works alone meaning he doesnt have to share his profits with anyone while the rest does.

Source

Daryls always mind his own business but does not share or promote abuse, there was a guy a the camp who knew shit how to hunt, wanting to join others to team up but no body wanted him so what they do? there was this guy Juno, white beard with red hat; motherfucker killed the kid and sold him as a Zombie, Daryl got into a fight over it because the guy even had rope marks around his neck so he was killed, Jones didn't seem to care it was still a Zombie and they were all getting paid so both Juno and Daryls gets kick out the moment the fight starts....to be continue

Source

On another subject, our boy Quinn was living like a fucking king, a lot of people die and a lot of people left Paris, a wealthy city with a lot of opportunities for those brave enough who stay and we willing to take it, that was Quinn, he got everything, the mansion, the luxury, wine, paintings, servants, everything anyone could dream off, he also had his Queen, Anna; until after many years destiny brought him back Isabelle, the women he was dating before the Zombie apocalypse who left him behind to safe her sister that had Quinn's son on the way, Laurent, that's a Mexican tv novel right there.

Source

Poor Quinn flew too close to the sun and is about to get burn, never ever mistreat a women specially when she got enough dirt on you, not that you have but specially not under certain circumstances, in the case of Quinn, Anna knew everything about him, his business, deals with Genet, enemies. On top of that Isabelle only got with him until she make sure Laurent and Daryl got out of town safe, when that happen she was about to kill Quinn but her dark days were over, she might not be a hard core nun but she was no murder, she could not do it.

Source

On the other hand Anna did throw Quinn into the lions den, the moment she had a chance fuck him up badly, Quinn was invited to an event at Genet base but when he and Isabelle arrive Genet already know all the lies Quinn told her about Laurent and Daryl.

Source

This duo, oh since the day they met at the convent, Daryl constantly gets piss off at Laurent, mainly because he is so naive and that is Isabelle fault, this time he did one of the most stupid things and that's letting go the boat because he didn't want Daryl to leave him, Isabelle fault again for not raising him to be a men and not just a kid in a bubble, they had no other option than walk, to make things worst that night their camp got attacked by a few Zombies that killed Azlan.

Source

So predictable, the moment they start walking a patrol was passing by, Daryl gave the watch with the engrave of the Nest to Laurent and told him to go away, he will take care of them but he didn't and gets caught too, you can tell how piss Daryl was when he notice Laurent got caught too, he sacrifice himself for nothing.

They both get transfer to Genet place where she is hosting and event, a display of her new warriors, her plan with Laurent is to make people in France believe Laurent is on her side since he got so popular.

Source

I got now clew when the memo that said "If you fight we send you to the Zombie ship" got pass around, out of no where Daryl and Juno get send to the boat they were putting all the Zombies, the ship was also a lab so it seems they travel the world by sea, during this time they make experiments and kept getting Zombies from the never ending supply.

This is the reason why Genet wants Daryl dead, he was the one who got out and fucked up everything, he trick the guards to get out, kill a few of them, in the process a container got on fire, this container was a mobile lab, creating a big explosion that fucked up big part of the boat and all the progress to the drain.

Episode five was very entertaining, the only detail missing is why they got send to the boat, that doesn't make sense and they probably skip the part, if you fight you get send to the boat, everything else was great, this was really a satisfactory episode because now it makes more sense how Daryl got to France and Genet experiments too. On previous episodes all we saw was a Zombie getting injected who went crazy to then had his head explode but on this episode we saw Daryl fight a Zombie like it was a fucking fighter, he move different, was fast, no intelligent but almost had him besides the Zombie took everything Daryl throw at him, I wonder if Daryl jump off the boat if the Zombie would follow him, probably the Zombie didn't because of the explosion.

Christos Nikou made his feature debut about three years ago with his debut feature Apples. His first film already showed the great influence he has received from fellow Greek filmmaker Yorgos Lanthimos. Without reaching the levels of excellence of the latter, it was a remarkable work that augured a promising future for the director. Nikou worked under the orders of Lanthimos in the masterful Canine.

No wonder professional critics draw comparisons with Lanthimos' films. I am sure that, in time, Nikou will deliver stronger works. He has the skill, he knows the craft, but I think he should let it flow, not stick so much to his master's style. What works for some doesn't mean it will work for others. There are things that don't quite work in the film, whose central idea seems to me to be very powerful, but is weighed down by these small details.

To form the lead trio, Nikou directs some talented, award-winning actors who have made a name for themselves in recent years. It captured my attention from the moment I saw its trailer. I also had pretty high expectations, the conjunction of all these factors made me think it would be superior to his debut feature. Don't get me wrong. I liked Fingernails enough to recommend it, but it could have been better.

---

Christos Nikou debutó en el largometraje hace aproximadamente tres años con su ópera prima Apples. Su primera película ya mostraba la gran influencia que ha recibido del también cineasta griego Yorgos Lanthimos. Sin llegar a los niveles de excelencia de este último, era una obra notable que auguraba un futuro prometedor al director. Nikou trabajó a las órdenes de Lanthimos en la magistral Canino.

No es de extrañar que los críticos profesionales establezcan comparaciones con las películas de Lanthimos. Estoy seguro de que, con el tiempo, Nikou ofrecerá obras más sólidas. Tiene la habilidad, conoce el oficio, pero creo que debería dejarlo fluir, no apegarse tanto al estilo de su maestro. Lo que funciona para unos no significa que vaya a funcionar para otros. Hay cosas que no acaban de funcionar en la película, cuya idea central me parece muy potente, pero se ve lastrada por estos pequeños detalles.

Para formar el trío protagonista, Nikou dirige a algunos actores de talento, premiados y que se han hecho un nombre en los últimos años. Captó mi atención desde el momento en que vi su tráiler. También tenía las expectativas bastante altas, la conjunción de todos estos factores me hizo pensar que sería superior a su ópera prima. No me malinterpreten. Fingernails me gustó lo suficiente como para recomendarla, pero podría haber sido mejor.

Love as a couple is so important. It is a reason for wonders, a feeling that revolutionizes us inside, it changes our lives. Being in love is so wonderful, that it is a pity that this feeling of fantasy, well-being and lust lasts so little, although many say the opposite. Love is such a strong feeling that it has even caused tragedies, wars, political changes. Love is everywhere. It is a human need, to love and be loved, to feel wanted, reciprocated, accepted and to share time with the person we really love. We must not confuse illusion with real love.

In the world presented in the film, people are governed by the results offered by machines created to determine whether the two people in love are compatible and truly love each other. The result of that test will decide your life. Even if you feel you are in love with another person, if the machine gives percentages that fall within the negative range, you are separated. The human hand leaving it to a test to decide whether or not you love someone. I think we are too close, or rather.... I think we are already living in those times.

Love as a product. In these times when everything is a blatant sale, love is treated as something packaged for commerce. In the film there are institutes for love, where professors will teach you how to love yourself more, with absurd dynamics, therapies and exercises that they themselves invent, as well as the experts that swarm our world in social networks, offering magical solutions, smoke peddlers so in vogue nowadays.

---

---

El amor de pareja es tan importante. Es motivo de maravillas, un sentimiento que nos revoluciona por dentro, nos cambia la vida. Estar enamorado es tan maravilloso, que es una pena que este sentimiento de fantasía, bienestar y lujuria dure tan poco, aunque muchos digan lo contrario. El amor es un sentimiento tan fuerte que incluso ha causado tragedias, guerras, cambios políticos. El amor está en todas partes. Es una necesidad humana, amar y ser amado, sentirse querido, correspondido, aceptado y compartir tiempo con la persona que realmente amamos. No hay que confundir la ilusión con el amor real.

En el mundo que nos presenta la película, las personas se rigen por los resultados que ofrecen unas máquinas creadas para determinar si las dos personas enamoradas son compatibles y se quieren de verdad. El resultado de esa prueba decidirá tu vida. Aunque sientas que estás enamorado de otra persona, si la máquina da porcentajes que caen dentro del rango negativo, estás separado. La mano humana dejando que sea un test la que decida si amas o no a alguien. Creo que estamos demasiado cerca, o mejor dicho... Creo que ya estamos viviendo en esos tiempos.

El amor como producto. En estos tiempos en los que todo es una venta descarada, el amor se trata como algo empaquetado para el comercio. En la película aparecen institutos para el amor, donde profesores te enseñarán a quererte más, con dinámicas absurdas, terapias y ejercicios que ellos mismos inventan, así como los expertos que pululan por nuestro mundo en las redes sociales, ofreciendo soluciones mágicas, vendedores de humo tan en boga hoy en día.

_{Cover made in Canva. Image}

¡Hola amigos! Parece que todavía no entre en mi mood navideño y la razón fue que me recomendaron mucho una película de terror de mi país, Argentina, a la que le está yendo muy bien en la taquilla del cine. Así que aproveche y la vi. Quedé bastante sorprendida con lo que me encontré. Les estoy hablando de la película Cuando acecha la maldad.

Hello friends! It seems that I haven't entered my Christmas mood yet and the reason was that I was recommended a horror movie from my country, Argentina, which is doing very well at the box office. So I took the opportunity and watched it. I was quite surprised with what I found. I'm talking about the movie When Evil Lurks.

Trama - Plot

_Source

La trama gira en torno a un pueblo rural donde viven dos hermanos que una noche escuchan tiros desde las tierras vecinas. A la mañana siguiente van a inspeccionar y se encuentran con un hombre que fue mutilado. Encuentran evidencia de que el sujeto se dirigía al rancho de otra vecina. Así que deciden ir a informarle de lo ocurrido, allí se encuentran con que la señora había contratado a este "limpiador" para que se encargue de su hijo mayor, ya que se encuentra encarnado/embichado (en español: está poseído por el diablo). Al verlo se dan cuenta que el hombre está totalmente hinchado y lleno de pus, es incapaz de moverse por sí mismo, pero la leyenda dice que cuando aparece un encarnado este dará a luz al mal. 

The plot revolves around a rural town where two brothers live who one night hear gunshots from neighboring lands. The next morning they go to inspect and find a man who has been mutilated. They find evidence that the subject was headed to another neighbor's ranch. So they decide to go to inform her of what happened, there they find that the lady had hired this "cleaner" to take care of her eldest son, since he is incarnated/embryonic (in Spanish: he is possessed by the devil). When they see him they realize that the man is totally swollen and full of pus, unable to move by himself, but the legend says that when an incarnate appears he will give birth to evil.

La leyenda también dice que no se puede matar con ningún tipo de arma. Así que, junto a otro vecino, deciden llevárselo lejos del pueblo para liberarse de él. Sin embargo, nada es tan simple, ya que el mal se desata de todos modos y empiezan a suceder más casos de posesión y asesinatos entre ellos. Aunque todavía hay una oportunidad de evitar que este ser maligno termine de nacer.

 The legend also says that he cannot be killed with any kind of weapon. So, together with another neighbor, they decide to take him away from the village to get rid of him. However, nothing is that simple, as evil is unleashed anyway and more cases of possession and murder begin to happen among them. Although there is still a chance to prevent this evil being from being born.

Reseña - Review

_Source

No es por presumir, pero creo que esta película fue una de las mejores del género que vi este año. El terror que utiliza me tuvo con el corazón en la boca en más de una ocasión. Hay escenas bastantes fuertes y bien realizadas, es impactante de ver. Hubo una en participar que la vi venir a lo lejos pero cuando pasó quedé shockeada de la magnitud del ensañamiento. Esta película no tiene miedo de mostrarse lo más cruel posible, es que te pega en el punto más débil de toda persona adulta de bien: los niños. 

Not to brag, but I think this movie was one of the best of the genre I saw this year. The terror it uses had my heart in my mouth on more than one occasion. There are some pretty strong and well done scenes, it's shocking to watch. There was one in which I saw it coming in the distance but when it happened I was shocked by the magnitude of the overkill. This film is not afraid to be as cruel as possible, it hits you in the weakest point of every good adult person: children.

Estuve buscando si de verdad existía esta leyenda o algo parecido, pero no encontré nada al respecto. Es interesante que la película tiene sus propias reglas de lo que no hay que hacer cuando te encuentres con un encarnado, entre ellas está la que les conté de que no se puede matar con un arma, no se puede usar la electricidad, no podes tener ningún contacto físico con el ser o con cualquiera de sus sustancias, ni tampoco estar cerca de un animal porque son los primeros en volverse locos, además de que no hay que sentir miedo en su presencia ya que esto los atrae y lo usan contra ti.

I was looking to see if this legend or something similar really existed, but I didn't find anything about it. It is interesting that the movie has its own rules of what not to do when you meet an incarnate, among them is the one I told you about that you can not kill with a weapon, you can not use electricity, you can not have any physical contact with the being or with any of its substances, nor be near an animal because they are the first to go crazy, plus you should not feel fear in their presence as this attracts them and they use it against you.

_Source

La película mantuvo un buen ritmo desde el principio, no cuesta seguirle el hilo porque los personajes te hacen partícipe de la dinámica de este pueblo y cómo funcionan las cosas allí. Hay momentos donde logran ponerle algún que otro toque humorístico mezclado con sarcasmo del que somos mucho de hacer los argentinos en situaciones estresantes y que no tienen mucha lógica o explicación. 

The film kept a good pace from the beginning, it is not difficult to follow the thread because the characters make you participate in the dynamics of this town and how things work there. There are moments where they manage to add a touch of humor mixed with sarcasm, which we Argentines are very prone to do in stressful situations that do not have much logic or explanation.

Me pareció una película muy buena, entretenida de ver, con escenas fuertes y un tanto asquerosas por momentos. Pero creo que pierde un poco de fuerza al final porque no logra entenderse qué es lo que va a suceder a partir de ahora. No se llega a explicar bien esa parte, más bien hicieron hincapié en cerrar la historia de los personajes de estos dos hermanos, ya que la película empezó y terminó con ellos en escena. Deja abierta la puerta a lo qué podría haber pasado con todo este lío de poseídos y asesinados.

I thought it was a very good movie, entertaining to watch, with strong and somewhat disgusting scenes at times. But I think it loses a bit of strength at the end because it fails to understand what is going to happen from now on. That part is not explained well, rather they emphasized to close the story of the characters of these two brothers, since the film began and ended with them on the scene. It leaves the door open to what could have happened with all this mess of possessed and murdered.

_Source

Quitando esto, de todos modos me gustó mucho el final, me pareció que está a la altura de lo que promete. Te hace vivir esa desesperación y desesperanza que amarga a los personajes. Juega muy bien con nuestra mente también, aunque en varias partes es muy predecible. Creo que le faltó explotar un poco más esta parte. Pero bueno, en líneas generales estuvo bien.

Apart from this one, I really liked the ending, I thought it lived up to its promise. It makes you live that despair and hopelessness that embitters the characters. It plays very well with our mind too, although in several parts it is very predictable. I think it lacked to exploit this part a little more. But well, in general it was good.

Así que si todavía no se cansaron de las películas de terror y les resultó interesante esta que les compartí, espero que le den una oportunidad. 

Gracias por llegar hasta acá y leer. ¡Hasta la próxima!

So if you still haven't had enough of horror movies and found this one I shared interesting, I hope you'll give it a chance.

Thanks for making it this far and reading. See you next time!

Synopsis: Using valuable archival images, photographs and moving footage, this very intimate documentary is set on the streets of downtown Recife and portrays, among other stories, the disappearance of movie theaters over the decades

Just like any other sector that moves an entire society and helps to “dictate” part of its trends over time, the movie industry also lives in cycles. Some of them bring melancholic feelings, if observed with a more sensitive eye, while others, bring feelings that evoke an atmosphere with the essences of a future that naturally frightens people due to its unpredictability. In the case of this movie, which is a documentary, the script “orbits” about the presence and absence of the famous street cinemas in the center of Recife.

Folha - UOL

There is no frequent timeline in the subjects that are covered here (the comings and goings to talk about everything that happens are constant, and it is necessary to pay attention to the periods to better understand everything that is happening), but the fact that the movie is divided into three chapters helps guide the script. In the first chapter, the plot focuses on showing some of the most personal aspects of a future filmmaker. In the second chapter, the project is more immersive in relation to its main context (street cinemas). In the third chapter, a “theatrical” and dramatic climax.

Exploring each chapter better, I can say that in the first act the public can learn a little more about what street cinemas were like in the city center of Recife and their weight in relation to the influence they had when they were seen as “tools”. of social transformation and creators of behavioral trends that reflected the interests of a society. An obvious example of this is how almost the entire first act focuses on showing the audience the awakening of a filmmaker who is taking his first steps into his “unknown” profession.

Cine Set

In the second act (which is by far the most interesting of the entire documentary and if you really love cinema like I do, you will be fascinated by everything that is shown on screen), the entire weight of the narrative falls quite intelligently on the cinemas of street that were spread across the center of a large capital in northeastern Brazil (in this case, Recife). From the moment of their pompous inaugurations to their fateful closures (involving political aspects and interests), also portraying the physical transformations of some of these buildings over the years.

While in the third act, there is a more focused look at a kind of “social reform”, putting street cinema aside in favor of religion, more precisely speaking, when some of the most important cinemas in the state were purchased and transformed into churches. At this point, it is important to mention that there is a very interesting analogy about temples, and how movie theaters and churches could be seen as places of contemplation. In this same act, there is a very good conclusion to the project, which brings a metaphorical conclusion to each subject.

Cinema de Buteco

Kleber Mendonça Filho (who wrote the script and also directed this project with a very careful eye full of sentimentality and social criticism) explores many things from his own past, and between the past and the present, he brings a movie that offers the public a true immersion into the history of street cinema in the center of Recife. Despite being a short documentary, it is very punctual and precise in everything that needs to be told and does so with a very assertive nostalgic touch. At the same time, it evokes an excellent debate that targets politics and religion.

Technically, there is nothing innovative here. However, the editing of scenes and editing are aspects that need to be deservedly recognized. Even in its less interesting moments (which is when the filmmaker focuses too much on his own story, bringing a somewhat “selfish” atmosphere to the project in general, and forgets what really needs to be told), everything is very intuitive, converging to create some great transition scenes (especially those involving movie theater curtains) among eras.

Folha - UOL

Pictures of Ghosts makes it very clear how people are able to give life to the places they frequent, turning these previously inanimate spaces into spaces with lives of their own (and anyone who is from the city of Recife or has already visited this place will be able to have an even better experience watching this documentary). Almost everything that is notable on screen invites the public to want to know more about the themes, and how they are all capable of reflecting the transformations of a city over the years, modifying its physical spaces and creating new plural memories.

---

CRÍTICA DE PELÍCULA: “Retratos fantasma” (2023)

Sinopsis: Utilizando valiosas imágenes de archivo, fotografías y metraje en movimiento, este documental muy íntimo está ambientado en las calles del centro de Recife y retrata, entre otras historias, la desaparición de las salas de cine a lo largo de las décadas.

Como cualquier otro sector que mueve a toda una sociedad y ayuda a “dictar” parte de sus tendencias en el tiempo, la industria cinematográfica también vive en ciclos. Algunos de ellos traen sentimientos melancólicos, si se observan con un ojo más sensible, mientras que otros traen sentimientos que evocan una atmósfera con las esencias de un futuro que naturalmente asusta a las personas debido a su imprevisibilidad. En el caso de esta película, que es un documental, el guión “orbita” sobre la presencia y ausencia de los famosos cines callejeros en el centro de Recife.

No existe una línea temporal frecuente en los temas que aquí se tratan (las idas y venidas para hablar de todo lo que sucede son constantes, y es necesario prestar atención a los periodos para comprender mejor todo lo que sucede), pero el hecho de que La película está dividida en tres capítulos que ayudan a guiar el guión. En el primer capítulo, la trama se centra en mostrar algunos de los aspectos más personales de un futuro cineasta. En el segundo capítulo, el proyecto es más inmersivo en relación con su contexto principal (cines callejeros). En el tercer capítulo, un clímax “teatral” y dramático.

Explorando mejor cada capítulo, puedo decir que en el primer acto el público puede conocer un poco más cómo eran los cines callejeros en el centro de la ciudad de Recife y su peso en relación a la influencia que tenían cuando eran vistos como “herramientas”. .de transformación social y creadores de tendencias de comportamiento que reflejaban los intereses de una sociedad. Un ejemplo evidente de ello es cómo casi todo el primer acto se centra en mostrar al público el despertar de un cineasta que está dando sus primeros pasos en su “desconocida” profesión.

En el segundo acto (que es con diferencia el más interesante de todo el documental y si realmente amas el cine como a mí te fascinará todo lo que se muestra en pantalla), todo el peso de la narración recae de forma bastante inteligente en el Cines de calle que se encontraban repartidos por el centro de una gran capital del noreste de Brasil (en este caso, Recife). Desde el momento de sus pomposas inauguraciones hasta sus fatídicos cierres (que involucran aspectos e intereses políticos), retratando también las transformaciones físicas de algunos de estos edificios a lo largo de los años.

Mientras que en el tercer acto hay una mirada más centrada en una especie de “reforma social”, dejando de lado el cine callejero en favor de la religión, más precisamente hablando, cuando algunos de los cines más importantes del estado fueron comprados y transformados en iglesias. En este punto, es importante mencionar que existe una analogía muy interesante sobre los templos, y cómo los cines y las iglesias podrían verse como lugares de contemplación. En este mismo acto hay una muy buena conclusión del proyecto, que trae una conclusión metafórica a cada tema.

Kleber Mendonça Filho (que escribió el guión y también dirigió este proyecto con una mirada muy cuidada, llena de sentimentalismo y crítica social) explora muchas cosas de su propio pasado, y entre el pasado y el presente trae una película que ofrece al público una verdadera inmersión en la historia del cine callejero en el centro de Recife. A pesar de ser un documental corto, es muy puntual y preciso en todo lo que hay que contar y lo hace con un toque nostálgico muy asertivo. Al mismo tiempo, evoca un excelente debate que apunta a la política y la religión.

Técnicamente, aquí no hay nada innovador. Sin embargo, el montaje de escenas y el montaje son aspectos que hay que reconocer merecidamente. Incluso en los momentos menos interesantes (que es cuando el cineasta se centra demasiado en su propia historia, aportando una atmósfera un tanto “egoísta” al proyecto en general, y olvida lo que realmente hay que contar), todo es muy intuitivo, convergiendo en cree algunas escenas de transición geniales (especialmente aquellas que involucran cortinas de cine) entre épocas.

Retratos fantasmas deja muy claro cómo las personas son capaces de darle vida a los lugares que frecuentan, convirtiendo esos espacios antes inanimados en espacios con vida propia (y cualquiera que sea de la ciudad de Recife o ya haya visitado este lugar podrá para tener una experiencia aún mejor viendo este documental). Casi todo lo reseñable en pantalla invita al público a querer saber más sobre los temas, y cómo todos ellos son capaces de reflejar las transformaciones de una ciudad a lo largo de los años, modificando sus espacios físicos y creando nuevas memorias plurales.

---

CRÍTICA DE FILME: “Retratos Fantasmas” (2023)

Sinopse: Através de valiosas imagens de arquivo, fotografias e registros em movimento, este documentário bastante intimista é ambientado nas ruas do centro do Recife e retrata, dentre outras histórias, o desaparecimento das salas de cinema ao longo das décadas.

Assim como qualquer outro setor que move toda uma sociedade e ajuda a “ditar” uma parte de suas tendências ao longo do tempo, a indústria cinematográfica também vive de ciclos. Alguns deles trazem sentimentos melancólicos, se forem observados por um olhar mais sensível, enquanto outros, trazem sentimentos que evocam uma atmosfera com as essências de um futuro que naturalmente amedronta as pessoas por suas imprevisibilidades. No caso deste filme, que é um documentário, o roteiro “orbita” sobre presença e ausência dos famosos cinemas de rua no centro de Recife.

Não há uma linha temporal frequente nos assuntos que são abordados aqui (as idas e vindas para falar sobre tudo o que acontece são constantes, e é preciso ficar atento as épocas para entender melhor tudo o que está acontecendo), mas o fato do filme ser dividido por três capítulos ajuda a nortear o roteiro. No primeiro capítulo, a trama se concentra em mostrar alguns dos aspectos mais pessoais de um futuro cineasta. No segundo capítulo, o projeto é mais imersivo em relação ao seu principal contexto (as salas de cinemas de rua). No terceiro capítulo, um ápice “teatral” e dramático.

Explorando melhor cada capítulo, eu posso dizer que no primeiro ato o público pode conhecer um pouco mais do que eram os cinemas de rua no centro da cidade do Recife e o peso deles em relação a influência que eles tinham quando eram vistos como “ferramentas” de transformação social e criadores de tendências comportamentais que refletiam os interesses de uma sociedade. Um exemplo óbvio disso é como quase todo o primeiro ato se concentra em mostrar ao público o despertar de um cineasta que está dando os seus primeiros passos dentro da sua profissão “desconhecida”.

No segundo ato (que de longe é o mais interessante de todo o documentário e se você realmente adora cinema quanto eu, ficará fascinado com tudo o que é mostrado na tela), todo o peso da narrativa recai de maneira bastante inteligente sobre os cinemas de rua que estavam espalhados pelo centro de uma grande capital do nordeste do Brasil (neste caso, Recife). Desde o momento de suas pomposas inaugurações até os seus fatídicos fechamentos (envolvendo aspectos e interesses de ordem política), retratando também as transformações físicas de alguns desses prédios ao longo de anos.

Enquanto no terceiro ato, há um olhar mais voltado para uma espécie de “reforma social”, colocando o cinema de rua de lado em prol da religião, mais precisamente falando, quando algumas das salas de cinemas mais importantes do estado foram compradas e transformadas em igrejas. Neste ponto, é importante mencionar que há uma analogia muito interessante sobre templos, e como as salas de cinemas e as igrejas poderiam ser vistos como locais de contemplação. Neste mesmo ato, há uma conclusão muito boa para o projeto, que traz uma finalização metafórica sobre cada assunto.

Kleber Mendonça Filho (que assina o roteiro e também a direção deste projeto com um olhar muito cuidadoso e cheio de sentimentalismo e críticas sociais) explora muitas coisas do seu próprio passado, e entre o passado o presente, traz um filme que oferece ao público uma verdadeira imersão sobre a história do cinema de rua do centro do Recife. Apesar de ser um documentário curto, ele é muito pontual e preciso em tudo o que precisa ser contado e o faz com um toque saudosista muito assertivo. Ao mesmo tempo, evoca um excelente debate que coloca um alvo na política, e na religião.

Tecnicamente, não há nada de inovador aqui. No entanto, a edição das cenas e a montagem são aspectos que precisam ser merecidamente reconhecidos. Mesmo nos seus momentos menos interessantes (que é quando o cineasta foca na própria história de maneira muito excessiva, trazendo uma atmosfera um tanto quanto “egoísta” para o projeto no contexto geral, e esquece sobre o que é realmente preciso contar), tudo é muito intuitivo, convergindo para à criação de algumas ótimas cenas de transição (especialmente aquelas envolvendo cortinas das salas de cinemas) entre épocas.

Retratos Fantasmas deixa muito claro como as pessoas são capazes de dar vida aos lugares que frequentam, tornando esses espaços até então inanimados em espaços com vidas próprias (e quem for natural da cidade de Recife ou já tenha visitado esse lugar conseguirá ter uma experiência ainda melhor assistindo a este documentário). Quase tudo o que é notório na tela convida o público a querer saber mais sobre os temas, e em como todos eles são capazes de refletir as transformações de uma cidade ao longo dos anos, modificando seus espaços físicos e criando novas memórias plurais.