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I just finished watching this new version of the classic Dracula story and I couldn't wait to share my thoughts on it. As the title suggests, it's a love story, that deep love that allows you to continue loving even after death. However, this version has a different twist on the familiar plot, which, in my opinion, makes it refreshing and updated, or rather, more contemporary.
Acabo de terminar de ver esta nueva versión de la clásica historia de Drácula y no pude esperar más para contarles mi opinión de este film. Como su nombre lo dice, es una historia de amor, ese amor tan profundo que te permite seguir amando incluso después de la muerte. Sin embargo esta versión tiene un toque diferente a la trama que conocemos que desde mi punto de vista la hace refrescante y actualizada, o mejor dicho, más contemporánea a su época.
What stands out most about this version is that it brings together all the previous versions, at least in certain aspects, and it remains faithful to the story of the novel that inspired it. Best of all, it has that essential romantic touch. For me, director Luc Besson did a fantastic job both in developing the story and in the many other details of set design, cinematography, and especially the dialogue. Everything was very well structured, and he managed to tell a story that was both similar to and different from existing ones.
Lo que más destaca de esta versión es que agrupa o engloba todas las versiones anteriores, al menos con ciertos detalles, además de que se mantiene fiel a la historia de la novela en la cual está inspirada y lo mejor de todo es ese toque romántico que simplemente no podía faltar. Para mí, el director Luc Besson hizo un trabajo estupendo tanto en el desarrollo de la historia como en los otros muchos detalles de escenografía, fotografía y sobre todo los diálogos. Todo se mantuvo muy bien estructurado y logró contar una historia semejante a las existentes y diferente a ellas al mismo tiempo.
I enjoyed seeing a glimpse of Vlad the Impaler and the deeper exploration of the romantic subplot, drawing on classic Dracula films. The makeup was equally impressive, maintaining the essence and resemblance to the Count portrayed by the enigmatic and unforgettable Gary Oldman, a Dracula who undoubtedly remains in the memory of many fans as one of the best versions of the character. And finally, it's worth noting the similarities in the details of the forbidden love story with the more recent version of Nosferatu.
Me agradó ver parte de Vlad el Empalador y que explicaran el tema romántico de la historia con mayor profundidad, basándose en las películas clásicas de Drácula. El maquillaje usado no se quedó atrás tampoco, mantuvo su esencia y parecido con aquel conde interpretado por el enigmático e inolvidable Gary Oldman, un Drácula que sin duda quedó en la memoria de muchos fans como una de las mejores versiones de este personaje. Y por último no podía faltar que también guarde cierta similitud en detalles de ese amor prohibido de la historia que se contó con la versión más actual de Nosferatu.
Furthermore, the lead performances of both Caleb Landry Jones and Zoë Bleu were outstanding. The roles were clearly made for them. I'm glad they gave Caleb the lead; he's a great actor who deserved an opportunity like this. The fight scenes, where he always had the upper hand against his opponents, were my favorites, and I think he added that extra touch of action that was missing. On the other hand, I wasn't expecting to see the cinematic star Christoph Waltz in this version. His presence undoubtedly added character to the story and the plot with his unique style.
Además, las actuaciones protagónicas tanto de Caleb Landry Jones como de Zoë Bleu estuvieron hechas a todo dar. Es decir, que el papel fue hecho para ambos. Me alegra que le hayan dado el protagónico a Caleb; es un gran actor que se merecía una oportunidad así. Las escenas de pelea donde él siempre llevó la ventaja ante sus oponentes fueron las que más me gustaron y me parece que le dio el toque extra con algo de acción que le faltaba. Por otro lado, no me esperaba ver a la estrella cinematográfica de Christoph Waltz en esta versión. Su presencia sin duda le agregó carácter a la historia y a la trama con el estilo único que este actor tiene.
Another aspect I really liked was the way they chose to present Dracula's transformation from human to vampire. This time, he didn't make a pact with the devil or some strange creature with bat-like powers. Here, he defied and offended God himself, blaspheming to such an extent that he cursed his own existence. Therefore, the religious aspect is given more weight in this version than in others. And although film critics gave it a low score, I think it deserves a better rating. This version has potential, and that's why I recommend it.
Otro aspecto que me gustó bastante fue la forma en la que decidieron presentar la transformación de Drácula que va de humano a vampiro. En esta ocasión no es que haya hecho un pacto con el diablo o con alguna criatura extraña con poderes parecidos a los de un murciélago. Aquí desafió y ofendió al mismo Dios, blasfemando a tal punto que lo llevó a maldecir su propia existencia. Por lo que el aspecto religioso en esta versión se toma más en cuenta que en las demás. Y aunque los críticos del cine le hayan dado una puntuación baja, yo pienso que se merece una mejor calificación. Esta versión tiene potencial y por eso se las recomiendo.
Written by: Kim Clements
Directed by: Terrence O'Hara
Running Time: 45 minutes
While some of Shawn Ryan's creative decisions during the production of The Shield appeared, in the short term, to be unfortunate or uninspired, they frequently proved their genius in the long run. A prime example was the choice to make Detective Vic Mackey not the sole anti-hero, but the leader of a group of corrupt policemen, each occupying a different position on the scale of actual morality. This dynamic transformed the Strike Team from a simple vehicle for Vic’s machinations into a crucible for internal conflict and drama. The fissures within this seemingly unified front are laid bare with exceptional clarity at the beginning of the Season 2 episode, Greenlit, demonstrating how this foundational decision became the series' most potent source of narrative tension.
Greenlit, like most episodes of the series' meticulously serialised narrative, leans heavily on the content of its predecessor, Carte Blanche. The episode immediately confronts the audience with the repercussions of Vic and Shane’s discovery of the Armenian mob's 'money train'. They unveil their audacious plan to rob it to the other two Strike Team members, Lem and the quietly observant Ronnie Gardocki, presenting the heist as a means to permanently secure their financial futures. The two men react in a manner that perfectly encapsulates the team's internal schism: Ronnie, ever the loyalist, accepts with little hesitation, while Lem, the unit’s moral centre, voices serious and pragmatic doubts. He astutely recognises that stealing from high-level mobsters invites peril from two fronts – the vengeful criminals and a police force that would inevitably launch a furious investigation. Vic’s declaration that he will not proceed without unanimous agreement places immense, tangible pressure squarely on Lem’s shoulders.
While this long-term conspiracy simmers, Vic must contend with the more immediate and visceral problem of Armadillo Quintero. Defying Vic's suggestion to retreat to Mexico, Armadillo has escalated his operations in a particularly insidious manner. The intelligence, delivered by Connie Riesler—a former prostitute and addict striving for legitimacy as a professional informant—reveals that Armadillo is now targeting school children. He supplies them with free, highly addictive heroin to create a vast army of permanent, dependent customers. Vic’s pursuit leads him to a teenage dealer, Felipe Gomez (Jonathan Hernandez), whom he arrests. Seeing an opportunity, Vic attempts to manipulate the boy into becoming an undercover informant against his supplier, Duardo (Rainbow Borden), and, by extension, Armadillo himself, a strategy that immediately highlights Vic’s ruthless pragmatism.
Vic’s campaign against Armadillo is multi-pronged and characteristically aggressive. He visits Armadillo’s brother, Navaro, in prison, threatening to use his gangland connections to place a „greenlit”—a contract on his life—unless Armadillo falls into line. However, this crusade becomes complicated by internal police politics. Captain Aceveda, increasingly troubled by Vic's brutal methods and his illegal use of an underage informant, begins to sideline him. Preferring a more procedural approach, Aceveda empowers Claudette Wyms and her by-the-book tactics. This decision stings Vic personally, especially after his efforts, via Felipe, successfully deliver Duardo for interrogation. Under Claudette’s calmer, more methodical questioning, Duardo provides Armadillo’s locations, allowing Aceveda to dispatch a SWAT team for the arrest, deliberately cutting the Strike Team out of the glory.
The situation escalates dramatically when Vic learns that Navaro, from his prison cell, has been communicating with a number linked to one of Armadillo’s safe houses. The Strike Team mobilises, and in a pivotal moment, Lem—previously the voice of caution regarding the money train—agrees to participate in taking Armadillo down. This shift signifies the intense peer pressure within the unit. Yet, upon their arrival, Armadillo reveals his own chilling capacity for strategic foresight. He has orchestrated the murder of his own brother in prison to eliminate a liability and, in a stunning act of defiance, calmly informs Vic that the entire Strike Team has now been „greenlit” by Armadillo's organisation, turning the hunters into the hunted.
The episode is padded out with several side storylines of varying success. One involves Dutch and Claudette investigating the case of Jeannie Sutton (Elizabeth Anne Smith), an elderly woman with Alzheimer's who has wandered away from home. The investigation, which hinges on Jeannie's attempt to reconnect with a lost love from the 1940s named Earl (Art Frankel), takes a dark turn. Dutch, by reconstructing her movements and interpreting them as a quest to reclaim her past, deduces that she had buried an illegitimate child, likely murdered by Earl almost six decades prior. Elsewhere, Officer Danny Sofer becomes the target of vindictive harassment, which she attributes to a suspect's wife, Yassirah al-Thani, while also expressing disapproval over Officer Julien Lowe's impending marriage to Vanessa (Monnae Michaell), criticising his refusal to confess his homosexuality to his unsuspecting fiancée.
Written by Kim Clements, who would later contribute to Lost, Greenlit is an episode that consciously attempts to raise the stakes for both Vic and the Farmington district. The conflict with Armadillo escalates to near-apocalyptic levels, with the deliberate poisoning of children and subsequent fatalities lending a new, heinous dimension to the drug war. Armadillo himself borders on moustache-twirling villainy, a portrayal that, while effective in establishing him as a dire threat, somewhat diminishes the impact of his most shocking act: the cold-blooded orchestration of his own brother's murder.
Where the script excels is in its nuanced portrayal of the Strike Team's internal strife. While Shane is often depicted as a more unhinged and impulsive version of Vic, Lem is positioned as his antithesis—the unit's conscience and voice of reason. This established dynamic makes his eventual capitulation, agreeing to pursue Armadillo with lethal intent, a moment of significant dramatic power. It illustrates the corrosive influence of the group and the immense weight of Vic’s leadership, showing how even the most principled member can be swayed towards darkness.
However, Greenlit ultimately suffers from a lack of narrative focus. The subplot involving Danny’s harassment feels undercooked and is never properly resolved, petering out inconsequentially. Furthermore, her sudden, intense interest in Julien’s private life comes across less as organic character interaction and more as the script dutifully adhering to a mandate for ‘political correctness’. Similarly, the storyline with the elderly woman, while offering a character piece for Dutch, functions largely as filler, doing little to advance the season's overarching narrative. Consequently, when compared to the tightly-wound tension of its predecessor, Greenlit appears somewhat inferior and fragmented.
The most compelling and successfully realised aspect of the episode is the character arc of Felipe Gomez. Initially introduced as a swaggering, tough "gangsta" wannabe, falsely secure in the belief that his status as a minor will shield him from consequence, his facade crumbles with pathetic swiftness under Vic’s relentless pressure. Jonathan Hernandez delivers a potent performance, charting the boy’s descent from bravado to a terrified, coerced informant, utterly broken by fear of Armadillo’s wrath. In a series defined by moral compromise, Vic’s decision to honour his deal and secure Felipe a place in a rehabilitation programme provides one of the episode’s rare instances of positive closure, a fleeting glimpse of redemption in an otherwise unremittingly grim and brutal hour of television.
I have started to raise my standards as far as series are concerned and this does seem to be cyclical in nature. At the moment we have quite a few good series available and therefore I am less likely to "suffer fools" like I would normally be forced to in other times of the year.
The Last Frontier looked to me as though it may have some potential but after just 1.5 episodes I can see that this is simply not going to be good and even after just this short 90 minutes or so, I can already tell that they have filled this up with a ton of "fluff" in order to get a full 10 episodes in the season. Episode 1 moved rather rapidly and almost all the parts of it were relevant, but that starts to vanish as early as 20 minutes into episode 2.
I can sometimes deal with a certain amount of silly filler slop but in the case of The Last Frontier this is just the tip of the iceberg. Not only is a great deal of what we are presented with rather uneventful and skips all over the place and not in a cohesive central story, but a great many of the subplots that they introduce are completely nonsensical and implausible in nature.
I am going to go into detail about this so just know that there are definitely spoilers ahead.
I don't think this show is worth watching
I think they actually do a pretty good job early on in episode 1 where they are able to introduce us the real city of Fairbanks, Alaska mostly by "showing, not telling." We are able to tell that this is a rather remote city of very few inhabitants, but enough inhabitants that they have things like modern schools, hospitals, store, restaurants, infrastructure and what not.
Congratulations on that guys. The first episode at least does a good job of establishing exactly where we are and who the main characters are going to be. Then things get wonky really fast.
The main thing that happens and the whole reason why there is a show here is because a plane carrying prisoners is taking off from somewhere in Alaska nearby Fairbanks and it is no small plane. It is something big and this is the first problem that I have with the overall plot. There is a relatively large plane filled with passengers that is taking off from a remote airstrip in Alaska. Well, where were they going, where did they come from, it's not like there is a huge prison population in sparsely populated Alaska. Were they going to drop everyone off in Russia or something? It doesn't make any sense right from the get go.
Things get a lot more nonsensical though because after the plane crashes, apparently nobody gets alerted about it. The only reason that US Marshals find out that a plane crashed there is because someone out in the woods saw smoke in the distance and contacted the police to go check it out.
Now I would understand if this was some sort of rogue Russian plane in US territory in the 60's, but this flight is meant to happen in modern times where the alerts would have gone out to everyone before the plane even crashed. Yet, by the time it the plane is discovered, a full night has passed and nobody has so much as received a phone call about it.
Some apologists might chalk this up to it being some sort of super-secret government mission and that's fine and all, but the government would have had their own response team then and it wouldn't just sit in the wood slowly burning (because that's totally how commercial airline crashes work) while nobody even knows it is there.
This brings me to my next point about everyone on board surviving the night. The people on the plane are mostly dressed in prison fatigues or uniforms. The temperature in most of Alaska is "kill you cold" especially at night. Yet nobody seems to take issue with this aboard the plane even though as we later find out, most of the passengers have wandered off in various directions.
When the Marshals first arrive on the scene, they are ambushed by orange jump-suit convicts and one of the Marshals, that we will just call "fat cop" get the stabby stabby treatment from one of the prisoners and is airlifted out of there. Fat cop is fine... he smiling, he's talking, he's confirming that he is in pain but will be fine. Ok, all good. Nope! now he's dead.
Why? Because they needed to advance the plot and put a revenge sort of spin on things at the last minute I guess. Despite the fact that they were just ambushed and one of their officers was killed, they decide to sit on their hands and wait until the next friggin day before they so much as go back there.
Now they have a big team of soldier-types including a CIA operative that starts to spill the beans on the main baddy that was on board this plane. She (of course it is a she) explains that this fugitive is a very high profile prisoner so well, of course it makes sense that he would be on a plane with a ton of other prisoners rather than on his own transport. You remember how when the real life Russian "Lord of War" was transported back to Russia in a prisoner swap and they put him on a plane with a ton of other people? Of course you don't, because that isn't how the world works.
Later we are informed that the local school has been put into lockdown with nobody allowed in or out... so obviously a couple of teens who just happen to be related to major characters immediately escape in broad daylight completely undetected.
This is the sort of lazy and completely improbably plot contrivance that really annoys me about films or series but there is another one coming that annoys me even more.
Our super-baddy needs to cover his tracks so he goes and blows up a telecom tower that he just happens to know exactly where it is and is capable of getting there, breaking in, blowing it up, and nobody so much as says "hey! what are you doing?"
This wipes out all telecom for the region because that is totally how telecom works. Just one tower for the entire region. There's no redundancies, no governmental backup system, no Starlink, nothing. The entire region just no longer has the ability to communicate inside the region or to the outside world.
This is the action series / film equivalent of teenagers at a cabin in the woods that conveniently doesn't have any mobile service. Why? Because the bullshit plot-armor needs it to be that way.
I haven't watched it enough to know for sure and likely wont do so, but I would imagine that they are going to continue doing what they have already done once in the little bit of show that I have seen and that is they are going to chase down a few of the minor escapees thinking they are on the trail of the main baddy who is known as "Havlock."
At least you will get to see Johnny Knoxville, who I genuinely appreciate as an actor, if you bother to carry on that long.
I simply cannot do so though until I completely run out of anything else to watch because if they have already introduced so many convenient and impossible aspects to the plot already, you can be assured they are going to continue doing so. This sort of story-telling isn't predictable, but for all the wrong reasons. This is just a long string of "somehow Palpatine returned!" occurrences, one after the next. There is no cohesive storyline to follow because the writers apparently are not at all concerned with plausibility or having any sort of coherent timeline. They just want to keep you on the edge of your seats I guess.
src i wasn't on the edge of my seat, i was off my seat going to do something other than watch this crap
Well I'm afraid that this sort of thing doesn't work on me. I like surprises sure, but I also want them to be things that actually could fit in with what I have seen up to that point. I don't want magical fast-travel or very convenient things thrown in that are necessary for the story to move forward.
This is an Alaskan "Prison Break" where a new main character is going to be introduced and eliminated each episode until we finally get to Havlock by episode 10.
I'm not going to stick around that long because although I wouldn't say I exactly use my time wisely in life, I use it too well to waste it on 10 hours of this crap.
if you insist on torturing yourself instead of watching Pluribus or Land Man (both great shows) it is only legally available on AppleTV+
Hello, cinema fans. Let's continue with more dream worlds with a film that made everyone dream last decade. It is one of those surprising yet complex masterpieces. A story that challenges reality itself with the simple idea that everything we have experienced so far is "just a dream". Written, produced, and directed by the great Christopher Nolan, Inception stars Leonardo DiCaprio, Ken Watanabe, Joseph Gordon-Levitt, Marion Cotillard, Elliot Page, Tom Hardy, Cillian Murphy, among others. Discover one of the best science fiction movies you'll ever see.
SPANISH VERSION
Hola, fanáticos del cine. Sigamos con más mundos oníricos con una cinta que puso a soñar a todo el mundo la década pasada. Es una de esas obras maestras sorprendentes y a la vez complejas de ver. Una historia que desafía la misma realidad con una simple idea de que todo lo que hemos vivido hasta ahora es “solo un simple sueño”. Escrita, producida y dirigida por el grandioso Christopher Nolan, Inception cuenta con el protagonismo de Leonardo DiCaprio, Ken Watanabe, Joseph Gordon-Levitt, Marion Cotillard, Elliot Page, Tom Hardy, Cillian Murphy, entre otros. Conoce una de las mejores películas de ciencia ficción que verás en tu vida.
The film begins by showing us a deserted beach with a man lying on the shore. Barely conscious, he sees two children playing on the beach, but they run away screaming. An armed man approaches the body and checks to see if he is armed. The man is carrying a gun and a small spinning top. They take him to what appears to be the owner of the place: an elderly asian man who recognizes the spinning top. He mentions that he remembers seeing it a long time ago. Here we jump to a time when the Asian leader and businessman (now younger) named Saito welcomes a couple of men who tell him about a technology that allows them to share and enter the dreams and minds of others.
SPANISH VERSION
Trama
La película inicia mostrándonos una playa desierta con un hombre tirado en toda la orilla. Apenas consciente, ve a dos niños jugar en la playa, pero estos se van corriendo y gritando. Un tipo armado se acerca al cuerpo y revisa si está armado. El hombre lleva una pistola y una pequeña peonza. Lo llevan ante quien parece ser el dueño del lugar: un señor mayor de edad y asiático que reconoce la peonza. Este le menciona que recuerda haberlo visto hace mucho tiempo. Aquí saltamos a una época donde el líder y empresario asiático (ahora más joven) llamado Saito recibe a una pareja de hombres que les habla de una tecnología que les permite compartir e introducirse en los sueños y la mente de otros.
If I mentioned that I found Paprika difficult to watch and talk about, you can't imagine how I felt about Inception. This time, I'm not referring to its plot or story, but rather to how dense and extensive it is in many ways. Christopher Nolan is a name I've seen and recognized for years, but his work as a director has had a significant impact on my life since I was a child. I'm not just referring to his unsurpassed work on the magnificent The Dark Knight trilogy (one of my favorite movie trilogies), but also to other drama, science fiction, and mystery films that I discovered much earlier.
Now, with Inception, it's a little different, not only because I didn't have many opportunities to see it, unlike other successful films by this great director, but also because the few times I did see it, it didn't have as much of an impact on me as it did a few hours ago. I can now understand why Inception is considered one of the best science fiction films of the past decade and even of the last century. The story, the characters, the mix of action, drama, mystery, suspense, and the way it builds up to its grand finale are all impressive.
SPANISH VERSION
Si con Paprika mencioné que se me hizo complicado ver y hablar sobre ella, no se imaginan entonces cómo me fue con Inception. Esta vez no lo digo por su trama o historia, sino más bien por lo densa y extensa que es en varios sentidos. Christopher Nolan es un nombre que he visto y reconocido desde hace años, pero su labor como director impactó bastante en mi vida desde que era un niño. No solo lo digo por el insuperable trabajo que realizó con la grandiosa trilogía de El Caballero de la Noche (una de mis trilogías de películas favoritas), sino también por otras películas de drama, ciencia ficción y misterio que conocí mucho antes.
Ahora, con el caso de Inception es un tanto diferente, no solo porque no tuve muchas oportunidades de verla, a diferencia de otras películas exitosas de este gran director. Sino porque en las poquísimas veces que la ví no me terminó de impactar tanto como actualmente lo hizo, hace unas horas atrás. Con toda certeza, ahora mismo puedo entender entonces el por qué Inception es considerada una de las mejores películas de ciencia ficción de la década pasada y de este último siglo, incluso. Tanto la historia como los personajes, la mezcla de acción, drama, misterio, suspenso y la manera en la que esta se construye hasta su grandioso final es impresionante.
Imagine living in a world where technology exists that can help you relive your own lucid dreams and do whatever you want with complete freedom. But not only can you do that, you can also enter the dreams and, in turn, the minds of others. That's why this technology is used not only to train military personnel (in fact, this technology was originally developed as a military experiment), but also to illegally extract valuable information from important people in exchange for money. This is where the protagonist of this film comes in. Dom Cobb is a thief who uses this technology to extract information from important people.
He sells this information to large companies in exchange for money. However, in one of his latest jobs, Cobb attempts to extract information from a japanese tycoon named Saito while they are in a shared dream. Unfortunately, everything goes wrong when a woman appears out of nowhere and helps the tycoon stop the extractors. The worst part is that the woman is an acquaintance of Cobb's, someone who shouldn't be there. When everyone wakes up, Saito assumes they are in real life... until he realizes that the carpet is different from how he remembers it.
SPANISH VERSION
Imagínate vivir en un mundo donde existe una tecnología que te puede ayudar a revivir tus propios sueños lúcidos y hacer lo que quieras con toda libertad. Pero no sólo puedes hacer eso, sino que también puedes introducirte en los sueños y -a su vez- en la mente de los demás. Es por eso que dicha tecnología es utilizada no solo para entrenar a militares (es más, esta tecnología nace siendo un experimento militar), sino también para extraer ilegalmente información valiosa de personas importantes a cambio de dinero. Es aquí donde el protagonista de esta película entra en acción. Dom Cobb es un ladrón que utiliza esta tecnología para extraer información de gente importante.
Esta información se la vende a empresas grandes a cambio de dinero. Sin embargo, en uno de sus últimos trabajos, Cobb intenta extraer la información que posee un magnate japonés llamado Saito mientras estos se encuentran en un sueño compartido. Desafortunadamente, todo sale mal cuando una mujer aparece de la nada y ayuda al magnate a detener a los extractores. Lo peor es que la mujer es una conocida de Cobb, alguien que no debería de estar allí. Cuando todos despiertan, Saito asume que están en la vida real… hasta que se da cuenta de que la alfombra es diferente a como él lo recuerda.
With the help of his faithful companion Nash, Cobb and his team manage to obtain the information despite the failures and problems they encountered while deceiving Saito in a dream within a dream. However, before delivering the information to the company that hired them, Saito returns to the scene with one of his companions who betrayed them at the cost of his life. The tycoon asks them to do one last job, but this time not to extract information, but to implant an idea into the mind of a leader of a competing company. This, in theory, is very difficult and even impossible to do, but Cobb accepts the job in exchange for the opportunity to be reunited with his family.
I mentioned in a previous review that just watching the first 10 or 15 minutes was more than enough to know whether or not it would be an excellent film. In this case, it also managed to more than meet the high expectations I had for Inception. At first, I found it difficult to even think about the length of this feature film, which is almost two and a half hours. But after watching it, those hours flew by as I became completely hooked on this incredible story. And it is no exaggeration when I say that the film has a wealth of elements that motivate you to watch it from start to finish.
SPANISH VERSION
Con la ayuda de su fiel compañero Nash, Cobb y su equipo logran conseguir la información a pesar de los fallos y problemas que tuvieran engañando a Saito estando en un sueño dentro de otro sueño. Sin embargo, antes de entregar la información a la empresa que los contrató, Saito vuelve a escena con uno de sus compañeros que los traicionó a costa de su vida. Es así como el magnate les pide que hagan un último trabajo, pero esta vez no para extraer información, sino para implantar una idea a un líder de una empresa competidora. Esto, en teoría, es muy difícil e incluso imposible de hacer, pero Cobb acepta el trabajo a cambio de la oportunidad de poder reunirse con su familia.
Antes les comenté en una reseña pasada la teoría de que con solo ver los primeros 10 o 15 minutos era más que suficiente para saber si será o no una excelente película. En este caso también consiguió llenar más que suficiente las altas expectativas que tenía con Inception. En un principio se me hizo pesado el pensar siquiera en la duración que tiene este largometraje, siendo esta de casi dos horas y media. Pero luego de verla se me fueron volando dichas horas al quedarme completamente enganchado con esta increíble historia. Y es que no es exageración cuando digo que la película posee un gran caudal de elementos que te motivan a verla de inicio a fin.
From the idea of shared dreams to the incredible odyssey that unfolds until the end with a dream within a dream, within another dream (yes, three dreams in one). Personally, I don't think you need to be a genius or have a high IQ to fully understand everything that happens in this film. However, if you pay close attention to every element of this film, you can notice many details that make you think a lot about the protagonist's psyche. Because yes, the main premise invites us on a journey into the dream world to carry out an illegal job of implanting an idea into the mind of a millionaire.
But on the other hand, we also see another intertwined story, that of Dom Cobb, the information thief who sneaks into people's dreams. In other words, while we watch a long chase that is divided into different levels or dreams intertwined in a highly protected mind, we also learn everything that happened to our protagonist in his past and why his own subconscious becomes his biggest obstacle. This is how a simple action, crime, and chase movie becomes a dramatic story of tragic love and a traumatized mind. You may be more interested in the former than the latter, or perhaps the opposite.
SPANISH VERSION
Desde la idea de los sueños compartidos hasta la increíble odisea que se desarrolla hasta el final con un sueño dentro de otro sueño, dentro de otro sueño (si, tres sueños en uno). Personalmente pienso que no hace falta ser un genio o tener un alto IQ para comprender bien todo lo que sucede en esta película. Sin embargo, si prestas bastante atención a cada elemento que tiene esta cinta puedes darte cuenta de muchos detalles que te ponen a pensar bastante sobre la psique del protagonista. Porque sí, la premisa principal nos invita a un viaje al mundo onírico para cumplir con un trabajo ilegal de implantar una idea en la mente de un millonario.
Pero por otro lado también vemos otra historia entremezclada y es la de Dom Cobb, el ladrón de información que se cuela en los sueños de las personas. Es decir, que mientras vemos una larga persecución que se divide en distintos niveles o sueños entrelazados en una mente bastante protegida, también conocemos todo lo que le ocurrió a nuestro protagonista en su pasado y el por qué su propio subconsciente se convierte en su mayor obstáculo. Es así como una simple película de acción, crímenes y persecución se convierte en una historia dramática de un amor trágico y una mente traumada. Puede que lo primero te interese más que lo segundo o puede que todo lo contrario.
But what is certain is that this story would be nothing without the idea of shared dreams. This fictional implementation in this world is what makes this work an audiovisual marvel that surpasses the human imagination. We have already seen and discussed the subject of dreams before in our review of Paprika, in which I mentioned my slight suspicion that Inception may have been indirectly inspired by this japanese work. But it is clear that there are many differences in terms of the story and the way in which these dreams are interpreted and used.
While in Paprika we see a world where you can be whoever you want and do whatever you want, in Inception dreams are a way of visually recreating the dreamer's mind and deepest thoughts. Also, the theme of implanting an idea in a person's mind through dreams is something that further elevates this work written by Nolan himself. But before continuing with the latter, I would like to mention something about dreams and how they are interpreted in this film from the past decade. I like that this resource is used to show us a rather interesting idea about memories and the human mind.
SPANISH VERSION
Pero lo que sí es seguro es que dicha historia no sería nada sin la idea de los sueños compartidos. Esta implementación ficticia en este mundo es lo que hace de esta obra una maravilla audiovisual que supera la imaginación humana. Ya hemos visto y hablado del tema de los sueños antes con la reseña de Paprika, la misma en la cual llegué a mencionar la ligera sospecha de que Inception haya sido inspirada indirectamente de esta obra japonesa. Pero es evidente que hay muchas diferencias en cuanto a la historia y la manera en la que estos sueños son interpretados y utilizados.
Mientras que en Paprika vemos que es un mundo donde puedes ser quien quieras y hacer lo que quieras, en Inception los sueños son una manera de recrear de forma visual la mente y los pensamientos profundos del soñador. También que el tema de la implantación de una idea en la mente de una persona por medio de los sueños es algo que eleva más aún esta obra escrita por el mismísimo Nolan. Pero antes de continuar con esto último quisiera mencionar algo acerca de los sueños y cómo son interpretados en esta película de la década pasada. Me gusta que dicho recurso sea utilizado para mostrarnos una idea bastante interesante sobre los recuerdos y la mente humana.
Inspired by the iconic film The Matrix, Christopher Nolan devised a world where dream-sharing technology can challenge reality itself. This is thanks to what is described in the film as "Inception", the theory of implanting an idea deep into the human mind. This can change a person's very essence, making everything they think and represent in real life completely different. In the end, this theory is confirmed by a case very similar to that of our protagonist who—so as not to give away any spoilers—I will only say that it completely changed the way that person saw reality.
This completely blew my mind, as the simple idea that everything you have experienced since you were born or since you had control of your own consciousness is nothing more than a long dream is mind-boggling. If earlier we talked about how interesting and encouraging it would be to make your dreams come true, as in Paprika, this time thinking that everything you have experienced so far is just a dream is a cruel and discouraging way of looking at reality. While what I have described may sound interesting, the film manages to convey all this in a way that will be impossible for us to forget.
SPANISH VERSION
Inspirado por la icónica película Matrix, Christopher Nolan ideó un mundo donde la tecnología para compartir sueños pueda desafiar hasta la propia realidad. Esto es gracias a lo que en la misma película lo describen como “Inception”, la teoría de implementar una idea en lo más profundo de la mente de un ser humano. Esto puede llegar a cambiar hasta la propia esencia del mismo, haciendo que todo lo que piensa y representa en la vida real sea completamente diferente. Al final, dicha teoría se confirma con un caso muy cercano al de nuestro protagonista que -para no darles ningún spoiler- solo les diré que cambió por completo la forma en la que esa persona veía la realidad.
Esto me explotó por completo la cabeza, ya que la simple idea implantada de que todo lo que has vivido desde que naces o desde que tuviste control de tu propia conciencia no es más que un largo sueño es algo de lo más alucinante. Si antes hablábamos de lo interesante y alentador que sería el hacer tus sueños realidad como con Paprika; el pensar esta vez en que todo lo que has vivido hasta ahora sea un simple sueño es una manera cruel y a la vez desalentadora de ver la realidad. Si bien puede llegar a sonar interesante esto que les he descrito, la película logra transmitirnos todo esto de una forma que nos será imposible olvidarlo.
All this, combined with the excellent action and chase scenes we see throughout the film, makes Inception a fascinating choice to watch after you finish reading this review. Another thing this film has going for it is a cast of talented and excellent actors who give incredible performances in this film. I say this mainly because of Dom Cobb (played by Leonardo DiCaprio), who, as the protagonist, undergoes quite an interesting development. As we learn about his history and past, we understand why he is so unstable and distrustful throughout the film. But something that personally impacted me is what he experienced with his late wife.
It is common for people to wish they were dreaming everything they experience in the real world because of so much suffering and regret. Living in a dream world where you can make your dreams come true sounds like the utopia that anyone would want to live in. However, the very fact that everything we do and experience in this world is not real at all is something that completely tears your soul apart. When you open your eyes and see the spinning top fall, you realize that you are in the real world, but you don't want it to be real. Dom Cobb's story shows us all of this in a sublime way, as if it were a tragic love story.
SPANISH VERSION
Todo esto, sumado con las excelentes escenas de acción y persecución que vemos a lo largo de esta película hacen de Inception una opción fascinante para ver después de que termines de leer esta reseña. Otra cosa que tiene esta película es un elenco de actores talentosos y excelentes que logran realizar una interpretación más que increíble en esta cinta. Lo digo más que nada por Dom Cobb (interpretado por Leonardo DiCaprio) quien como protagonista posee un desarrollo bastante interesante. Al conocer su historia y su pasado entendemos el por qué es tan inestable y desconfiado en toda la película. Pero algo que me impactó personalmente es lo que vivió con su difunta esposa.
Es común que existan personas que desearían estar soñando todo lo que viven en el mundo real debido a tanto sufrimiento y lamentaciones que tienen. El vivir en un mundo onírico donde puedes hacer tus sueños realidad suena a esa utopía que cualquiera desearía vivir. Sin embargo, el propio hecho de que todo lo que hagamos y vivamos en este mundo no sea para nada real es algo que te desgarra por completo el alma. Al abrir los ojos y ver la peonza caer te das cuenta de que estás en el mundo real, pero no deseas que esto sea real. El caso que vivió Dom Cobb nos muestra de forma sublime todo esto que les acabo de contar como si de una historia de amor trágica se tratara.
Beyond that, I have nothing else to say about the rest of the main characters. Well, perhaps the case of the millionaire who is being persuaded to accept the idea, and what he has experienced with his recently deceased father, may cause us to reevaluate what we have received as a legacy from our parents. The idea of "following your own path" and not following in our parents' footsteps is not so bad after all. Other than that, I can't think of anything else to say about it. There are also scenes and elements in this film that have a very deep value and meaning, such as the "limbo" we see in this world of dreams.
Another thing I like about this film is how excellently structured and represented shared dreams and the real world are. The difference in time, the hidden labyrinths, the way the dream world differs from and relates to the real world are very interesting details. The same goes for other details such as "the kick" (a sensation that we have surely all experienced in our lives when we sleep) or the totems that serve to recognize whether or not you are in the real world. And speaking of totems, I would like to say that the ending of this film is... a complete intentional oversight on the part of the director.
SPANISH VERSION
Más allá de esto, no tengo nada más que opinar acerca del resto de los personajes principales. Bueno, tal vez el caso del millonario a quien le intentan implantar la idea y lo que este ha vivido con su recientemente difunto padre puede hacernos reevaluar aquello que hemos recibido como legado de nuestros padres. Esa idea de “recorrer tu propio camino” y no seguir los mismos pasos que dejaron nuestros padres es algo que no suena tan mal, después de todo. De resto, no hay más nada que se me ocurra decir al respecto. También hay escenas y elementos en esta película que posee un valor y un significado muy profundo, como lo es el “limbo” que vemos en este mundo de los sueños.
Otra cosa que me gusta de esta película es lo excelentemente estructurada y representada que son los sueños compartidos y el mundo real. La diferencia de los tiempos, los laberintos ocultos, la manera en la que el mundo de los sueños se diferencia y se relaciona a la vez con el mundo real son detalles muy interesantes. Lo mismo digo con otros detalles como “la patada” (una sensación que seguramente hemos vivido todos en nuestras vidas cuando dormimos) o los tótems que sirven para reconocer si estás o no en el mundo real. Y hablando de tótems, quisiera decir que el final de esta película es… una completa pasada intencional por parte del director.
Last but not least, let's talk about the audiovisual aspects of this successful film. One thing that sets Christopher Nolan apart from other famous directors is the way he relies more on practical elements/effects than computer-generated effects. Despite the length and surreal nature of this film, it is noticeable that it does not have much CGI, which is very positive as it makes it feel as realistic as possible. The same is true of the way in which many of the scenes we see in this feature film are made, where basic laws such as gravity are completely broken.
The level of detail and visual elements, the varied and neutral color palette, and Nolan's typical shots and photography styles make this film a visual marvel. In terms of audiovisuals, the sound effects are not bad at all, some even managing to be key to the plot. But when it comes to the soundtrack, I have to say that it is one of the best musical compositions I have ever heard in a film. Inception has many scenes with background music that is simply majestic. There are moments when you can feel an emotion that is practically indescribable. In short, this is a perfect movie to watch and enjoy.
Personally, I give it a rating of 9.5/10 in terms of the science fiction, action, drama, and suspense genres.
SPANISH VERSION
Por último, pero no menos importante, hablemos ahora del apartado audiovisual que posee esta exitosa película. Algo en lo que Christopher Nolan se destaca por sobre el resto de directores famosos es la forma en la que este recurre más a los elementos/efectos prácticos antes que los efectos hechos por computadora. A pesar de lo larga y surrealista que es esta película, se puede notar que no posee mucho CGI que se diga, lo cual es muy positivo ya que hace que se sienta lo más realista posible. Lo mismo sucede con la forma en la que están hechos muchos escenarios que vemos en este largometraje donde leyes básicas como la de la gravedad se rompen por completo.
El nivel de detalles y elementos visuales, la paleta de colores variados y neutrales, los planos y estilos de fotografía típicos de Nolan hacen de esta película una maravilla visual. En cuanto a lo audiovisual, los efectos de sonido no están para nada mal, algunos incluso logran ser clave para la trama. Pero en lo que respecta a la banda sonora tengo que decir que es de las mejores composiciones musicales que he escuchado en una película. Inception posee muchos escenarios poseen una música de fondo que es simplemente majestuosa. Hay momentos en los que se puede llegar a sentir una emoción que es prácticamente indescriptible. En fin, esta es una película perfecta para ver y disfrutar.
Personalmente, le doy una calificación de 9.5/10 en lo que respecta al género de ciencia ficción, acción, drama y suspenso.
Tell me, have you seen this movie yet? What did you think of it? You can leave your answer in the comments.
Dime, ¿ya has visto esta película? ¿Qué te ha parecido? Puedes dejarme tu respuesta en los comentarios.
El hijo de Saul - ¿Adoptarías a un niño muerto? || Reseña y opinión
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> Es la primera vez que veo una película de los campos de Auschwitz (campos de concentración) con la perspectiva de los prisioneros que ayudaban a masacrar a los inocentes, es decir los civiles que les tocaba hacer el trabajo sucio por algunos privilegios de comida, un espacio para dormir y un poco de agua para asearse y lo más importante ganar tiempo para vivir.
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> De todas los trabajos forzados que están registrados en la historia de la Segunda Guerra Mundial, este es uno de los peores, porque estas personas debían obedecer, callar y fingir; ellos sabían muy bien lo que sucedía a su alrededor. La película comienza en la antesala a la cámara de gas, donde pedían a las personas que llegaban en los trenes desvestirse y acceder a las duchas, ellos pensaban que se bañarían para empezar a trabajar, pero la verdad es que iban a ser asesinados en masas; por otra parte, estaban los que trabajan para los nazis que les ayudaban a desvestirse para luego revisar entre sus pertenecías y sacar los objetos de valor. Después los obligaban a escuchar los gritos de desesperación de las personas en la ducha, sacar los cuerpos y lavar la sangre de todas partes.
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> Desde el inicio me llamó la atención el encuadre de las escenas, todas las tomas estuvieron en primer y segundo plano justo a la altura del hombro del protagonista Saúl, sentí que estaba siendo su sombra, no veía las cosas desde sus ojos, sino que estaba viviendo la angustia a su lado, como su igual, en los primeros minutos pensé que sería la primera o segunda parte de la película, pero no, toda fue rodada bajo la misma dirección.
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> Hubo algo interesante también en el argumento, en los primeros minutos un chico sobrevivió a la cámara de gases y luego de ser hallado con vida, hay una escena confusa que no me quedo clara si seguía con vida o estaba muerto, el hecho es que Saúl comenzó a hacer cosas fuera de lo normal arriesgando cada segundo su vida y la de su grupo, para conseguir un sacerdote judío un Rabino y a mitad de la película entendí que el joven estaba muerto y que Saúl solo quería darle un descanso según su creencia, aunque era un desconocido para Raul honrro a su cuerpo como si fuera su hijo.
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> Saúl había perdido la cordura para mí, arriesgarse por mantener un cuerpo sin vida, de alguien que no conocía, no parece algo lógico, pero si tiene mucho sentido, cuando ya no tienes nada que perder, si sabes que pronto vas a morir y solo te queda mantener tus creencias y luchar por hacer lo que tu convicción te dice.
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> Me di cuenta que la película no era de una historia de sobrevivencia, sino de limpiar las culpas y de los rituales religiosos sobre la muerte, morir con la conciencia limpia y el alma en paz se ve muy reconfortante en la película siendo este su final, a mí me dio un respiro de tranquilidad después de pasar dos horas de angustia y estrés.
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> No puedo decir que la disfruté, porque quien disfruta de ver el sufrimiento de otros, yo no, pero si es una gran película, con mucha congruencia en la personalidad de Saúl, mostraron un hombre fuerte, decidido, leal y sobre todo creyente. Para finalizar, si decides ver El Hijo de Saúl, ten en cuenta que no te sentirás cómodo, es una película para incomodar al ser, reflexionar y pensar sobre nuestras creencias.
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This is the first time I have seen a film about the Auschwitz camps (concentration camps) from the perspective of the prisoners who helped massacre innocent people, that is, the civilians who had to do the dirty work in exchange for some privileges such as food, a place to sleep, a little water to wash themselves and, most importantly, extra time to live.
Of all the forced labour recorded in the history of World War II, this is one of the worst, because these people had to obey, keep quiet and pretend; they knew very well what was happening around them. The film begins in the antechamber to the gas chamber, where people arriving on trains were asked to undress and enter the showers. They thought they were going to bathe before starting work, but the truth was that they were going to be murdered en masse. On the other hand, there were those who worked for the Nazis, who helped them undress and then searched through their belongings and took any valuables. Then they were forced to listen to the desperate cries of the people in the shower, remove the bodies and wash the blood from everywhere.
From the beginning, I was struck by the framing of the scenes. All the shots were in the foreground and background, right at the shoulder height of the protagonist, Saul. I felt like I was his shadow. I wasn't seeing things through his eyes, but rather experiencing the anguish alongside him, as his equal. In the first few minutes, I thought it would be the first or second part of the film, but no, it was all shot under the same direction.
There was also something interesting about the plot. In the first few minutes, a boy survived the gas chamber and after being found alive, there is a confusing scene where it is not clear to me whether he was still alive or dead. The fact is that Saul began to do unusual things, risking his life and that of his group every second, to find a Jewish priest, a rabbi. Halfway through the film, I understood that the young man was dead and that Saul only wanted to give him a rest according to his beliefs. Although he was a stranger to Raul, he honoured his body as if he were his son.
Saul had lost his mind, in my opinion. Risking his life to keep a dead body, of someone he didn't know, doesn't seem logical, but it makes a lot of sense when you have nothing to lose, when you know you are going to die soon and all you have left is to hold on to your beliefs and fight to do what your convictions tell you to do.
I realised that the film was not a story of survival, but of cleansing guilt and religious rituals surrounding death. Dying with a clear conscience and a peaceful soul is very comforting in the film, and this is how it ends. It gave me a moment of tranquillity after two hours of anguish and stress.
I can't say I enjoyed it, because who enjoys seeing the suffering of others? I don't. But it is a great film, with a lot of consistency in Saul's personality. They showed a strong, determined, loyal and, above all, believing man. Finally, if you decide to watch Son of Saul, bear in mind that you will not feel comfortable. It is a film that makes you feel uncomfortable, reflect and think about your beliefs.
Cover image created by me with canva Source with resources from imdb
En 1940, Europa ardía en las llamas de la Segunda Guerra Mundial y el régimen nazi exhibía su poder más despiadado pero..., un hombre con bigote y aire patético se subió a un podio... vio a todas partes y pronunció un discurso conmovedor y premonitorio, tal vez, el más premonitorio de la historia del cine.
Charles Chaplin, se atrevió a ridiculizar a Adolf Hitler antes de que el mundo comprendiera la magnitud total de su horror, pero fue más allá, en El gran dictador legó una sátira que, lejos de envejecer, gana una pertinencia escalofriante con cada año que pasa.
La tesis es clara: el planteamiento de Chaplin no fue solo valiente, fue proféticamente visionario.
La premisa es simple en su genialidad: un barbero judío, idéntico al dictador Adenoid Hynkel de Tomania, es confundido con él y debe ocupar su lugar.
Chaplin, con la elegancia del clown trágico, utiliza la sátira para desmontar la mecánica del fascismo. La secuencia en la que Hynkel baila con un globo terráqueo al compás de Wagner es una obra maestra de la ironía: muestra la megalomanía, la fragilidad y el ansia de poder del tirano, reduciéndolo a un niño caprichoso con un juguete.
Pero la genialidad de Chaplin reside en no quedarse en la burla.
Él intuye y expone los mecanismos que permiten el ascenso de estos regímenes, destacando especialmente cómo pobres mediocres con un supuesto poder actúan como dictadores en miniatura, replicando en su esfera de influencia la misma lógica autoritaria de sus superiores.
Es aquí donde la película se revela como un aliento premonitorio. El oficial Garbitsch (parodia de Goebbels) y el mariscal Herring (parodia de Göring) encarnan esta idea con precisión demoledora: son hombres grises, intrínsecamente vulgares, que encuentran en la ideología totalitaria un vehículo para su ambición y una justificación para la crueldad.
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Chaplin anticipa cómo el fascismo no solo seduce a los líderes carismáticos, sino que crea ejércitos de pequeños déspotas, pobres mediocres con un supuesto poder que, investidos de una mínima autoridad, se transforman en verdugos entusiastas.
La escena donde la milicia de Harnick acosa el gueto judío no muestra a ideólogos fanáticos, sino a hombres comunes intoxicados por la posibilidad de oprimir.
El director comprendió que el totalitarismo es, en gran medida, una estructura que permite a los insignificantes sentirse importantes mediante la tiranía sobre otros.
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Sin embargo, el acto más visionario y audaz de la película es su final. En un giro radical de tono, el barbero, confundido con Hynkel, se dirige a la multitud desde el podio.
Chaplin abandona su personaje, mira fijamente a la cámara y, durante seis minutos inolvidables, pronuncia un monólogo dirigido a la humanidad.
Es aquí donde la premonición alcanza su cenit. "Lo siento, pero no quiero ser emperador", comienza, para luego construir un alegato desgarrado a favor de la razón y en contra de quienes "odian a los demás y se enriquecen con las guerras".
Su discurso advierte: "No os entreguéis a estos individuos inhumanos, hombres máquina con coraza y cerebros de máquina".
En 1940, estas palabras sonaban a un grito de esperanza en la oscuridad.
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Hoy, en el siglo XXI, las ideas plasmadas en *El gran dictador * son una advertencia . Cuando Chaplin describe a los tiranos como seres vacíos que "os desprecian y os esclavizan", está retratando la esencia del mediocre armado con ideología: un ser pequeño que necesita hacer pequeños a los demás para existir.
Su llamamiento a la democracia y a la lucha contra la deshumanización es de una vigencia atroz, donde las redes sociales y las estructuras burocráticas multiplican las oportunidades para que pobres mediocres con un supuesto poder ejerzan su autoridad de forma mezquina.
El gran dictador trasciende su contexto para convertirse en una guía permanente.
Chaplin, el cómico, se erigió en profeta.
Predijo la naturaleza cíclica de las amenazas a la dignidad humana, especialmente el peligro de los pequeños déspotas, seres mediocres que, al obtener incluso el más ínfimo poder, revelan su potencial para la crueldad.
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El Gran Dictador es una película que establece algo esencial: la sátira es un arma poderosa contra el autoritarismo en todas sus escalas.
El último plano, en el que Paulette Goddard mira al horizonte con lágrimas de esperanza, es como un testamento: la batalla entre la humanidad y la barbarie, que Chaplin vislumbró con claridad, depende de que identifiquemos y resistamos no solo a los grandes dictadores, sino también a sus tristes émulos cotidianos.
Un grito que, ocho décadas después, sigue esperando una respuesta definitiva. Y la respuesta es la libertad. Absoluta.
Algunos de mis libros publicados son: Convite de Cenizas (2002), Tras la piel (2004), En este lado de la muerte (2014), El orden natural de las cosas (2015), La Sangre del Marabú (2020), La Sexta Caballería de Kansas (2024) y La Nada Infinita (2024)
EN ENGLISH
🍿 "The Great Dictator" (Film) or how Chaplin made us laugh and think | Original article by Marabuzal (ESP-ENG)
In 1940, Europe was engulfed in the flames of World War II, and the Nazi regime was displaying its most ruthless power, but... a man with a mustache and a pathetic air stepped onto a podium... he looked around and delivered a moving and prophetic speech, perhaps the most prophetic in the history of cinema.
Charles Chaplin dared to ridicule Adolf Hitler before the world understood the full magnitude of his horror, but he went further; in The Great Dictator, he bequeathed a satire that, far from becoming outdated, gains chilling relevance with each passing year.
The thesis is clear: Chaplin's approach was not only courageous, it was prophetically visionary.
The premise is simple in its genius: a Jewish barber, identical to the dictator Adenoid Hynkel of Tomania, is mistaken for him and must take his place.
Chaplin, with the elegance of the tragic clown, uses satire to dismantle the mechanics of fascism. The sequence in which Hynkel dances with a globe to the rhythm of Wagner is a masterpiece of irony: it shows the megalomania, fragility, and lust for power of the tyrant, reducing him to a capricious child with a toy.
But Chaplin's genius lies in not stopping at mere mockery.
He intuitively understands and exposes the mechanisms that allow the rise of these regimes, highlighting especially how mediocre individuals with supposed power act as miniature dictators, replicating in their sphere of influence the same authoritarian logic of their superiors.
It is here that the film reveals itself as a prophetic warning. Officer Garbitsch (a parody of Goebbels) and Marshal Herring (a parody of Göring) embody this idea with devastating precision: they are gray men, intrinsically vulgar, who find in totalitarian ideology a vehicle for their ambition and a justification for cruelty.
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Chaplin anticipates how fascism not only seduces charismatic leaders but also creates armies of petty despots, poor mediocrities with supposed power who, invested with minimal authority, transform into enthusiastic executioners.
The scene where Harnick's militia harasses the Jewish ghetto doesn't show fanatical ideologues, but ordinary men intoxicated by the possibility of oppression.
The director understood that totalitarianism is, to a large extent, a structure that allows insignificant people to feel important by tyrannizing others.
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However, the most visionary and audacious act of the film is its ending. In a radical shift in tone, the barber, mistaken for Hynkel, addresses the crowd from the podium.
Chaplin abandons his character, stares directly at the camera, and, for six unforgettable minutes, delivers a monologue addressed to humanity.
It is here that the premonition reaches its zenith. "I'm sorry, but I don't want to be an emperor," he begins, and then builds a heartfelt plea in favor of reason and against those who "hate others and enrich themselves with wars."
His speech warns: "Don't give yourselves to these inhuman individuals, machine men with machine hearts and machine minds."
In 1940, these words sounded like a cry of hope in the darkness.
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Today, in the 21st century, the ideas embodied in The Great Dictator are a warning. When Chaplin describes tyrants as empty beings who "despise you and enslave you," he is portraying the essence of the mediocre individual armed with ideology: a small being who needs to make others small in order to exist.
His call for democracy and the fight against dehumanization is tragically relevant today, where social media and bureaucratic structures multiply the opportunities for petty mediocrities with supposed power to exercise their authority in a mean-spirited way.
The Great Dictator transcends its context to become a timeless guide. Chaplin, the comedian, became a prophet.
He predicted the cyclical nature of threats to human dignity, especially the danger of petty despots, mediocre beings who, upon obtaining even the slightest power, reveal their potential for cruelty.
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The Great Dictator is a film that establishes something essential: satire is a powerful weapon against authoritarianism at all levels.
The final shot, in which Paulette Goddard looks toward the horizon with tears of hope, is like a testament: the battle between humanity and barbarity, which Chaplin clearly foresaw, depends on our identifying and resisting not only the great dictators, but also their pathetic everyday imitators.
A cry that, eight decades later, still awaits a definitive answer. And the answer is freedom. Absolute freedom.
Algunos de mis libros publicados son: Convite de Cenizas (2002), Tras la piel (2004), En este lado de la muerte (2014), El orden natural de las cosas (2015), La Sangre del Marabú (2020), La Sexta Caballería de Kansas (2024) y La Nada Infinita (2024)
Hello everyone, friends of Hive, I hope you're all doing super well today. I want to tell you about a super interesting film; in fact, I feel it's the perfect piece to celebrate love, identity, and all the beautiful chaos that is the human heart. Today, finally, we're going to talk about one of my all-time favorite LGBTQ films: Laurence Anyways. Okay, just so you get the picture: this isn't your typical Hollywood movie. It's a little French-Canadian gem from 2012 by director Xavier Dolan. If you don't know him, this guy is a genius. He's a queer filmmaker who has been creating pure works of art since he was super, super young. I mean, when he directed Laurence Anyways, he was barely in his twenties, and yet he pulled off this nearly THREE-hour film with a maturity and vision that directors twice his age would kill for. Watching a Dolan film is like entering another universe, I swear. They are a visual feast, like watching a very long music video, full of vibrant colors, music that hits you right in the feels, and an aesthetic that blows your mind. This film is, perhaps, his most ambitious and accomplished work. So, what's it about?
Look, at first glance, the story seems simple. We're introduced to Laurence and his girlfriend, Fred. Picture it: the late '80s, and they are the ideal couple. I'm not exaggerating; their chemistry is insane. They laugh like kids, understand each other without speaking, and share a love so intense, so passionate, that you can almost touch it through the screen—one of those connections you're lucky to find once or twice in a lifetime. Laurence is a literature professor, an intelligent, funny guy with incredible charisma. Fred is a woman with a lot of spark, eccentric, full of life. They've built their own little world together, but, of course, beneath all that apparent perfection, there's a truth that Laurence can no longer keep hidden.
Hola a todos, amigos de Hive, espero que se encuentren súper bien en el día de hoy, quiero comentarles de una película súper interesante, de hecho, siento que es la pieza perfecta para celebrar el amor, la identidad y todo el desmadre que es el corazón humano.. hoy, por fin, vamos a hablar de una de mis películas LGBTQ favoritas de toda la vida: Laurence Anyways.. a ver, para que se hagan una idea: esta no es la típica película de Hollywood, es una joyita franco-canadiense de 2012, del director Xavier Dolan.. si no lo ubican, este tipo es un genio.. es un cineasta queer que lleva haciendo puras obras de arte desde que era súper, súper joven.. o sea, cuando dirigió Laurence Anyways, apenas andaba en sus veintes y, ¡aún así!, se aventó esta película de casi TRES horas con una madurez y una visión que ya quisieran directores que le doblan la edad, ver una peli de Dolan es como entrar a otro universo, se los juro. Son un agasajo visual, como si vieras un video musical larguísimo, lleno de colores vibrantes, musica que te pega directo y una estética que te vuela la cabeza.. esta película es, quizá, su obra más ambiciosa y lograda. Entonces, ¿de qué va?
Miren, a primera vista la historia parece sencilla, nos presentan a Laurence y a su novia, Fred.. imagínense, finales de los 80, y ellos dos son la pareja ideal, y no exagero, la química que tienen es brutal, se ríen como niños, se entienden sin hablar, tienen un amor tan intenso, tan apasionado, que casi lo puedes tocar a través de la pantalla.. de esas conexiones que, con suerte, encuentras una o dos veces en la vida. Laurence es un profe de literatura, un tipo inteligente, divertido, con un carisma increíble, Fred es una mujer con muchísima chispa, excéntrica, llena de vida.. han construido su propio mundito juntos, pero, claro, debajo de toda esa aparente perfección, hay una verdad que Laurence ya no puede seguir ocultando.
Well, on his 35th birthday, BOOM!, Laurence drops the bomb on Fred, the secret that has been eating him alive: he identifies as a woman. Mind you, it's not that he's gay, which is the first thing Fred thinks. He still loves her, he's still attracted to her. The thing is, he has simply lived his entire life in the wrong body and he's reached his limit; he can't take it anymore. He wants to begin his transition to live as the woman he has always been inside. This is exactly where the film grabs you and never lets go. It throws that question at you that I think we've all asked ourselves, a question that sounds super simple but is brutally complex: can love really endure everything? The film explores this through the two of them, and it does so with an honesty that's almost painful, you know?
On one hand, there's Laurence—by the way, the actor Melvil Poupaud gives a phenomenal performance, just unbelievable! His journey is one of incredible bravery. You have to remember this is happening in the '80s and '90s, an era where being trans was a gigantic taboo. The people who dared to be who they were back then were some of the bravest people on the planet. The film doesn't sugarcoat it for you, not at all. We see Laurence dealing with ridicule, with people who don't understand her, with violence. There's a scene in a bar where she has to physically defend herself that leaves you chilled. But at the same time, the script doesn't portray her as a saint. Laurence, in this quest to be happy, also screws up. She can be selfish, she can fail to understand the pain she's causing those around her, especially Fred. She risks a perfect relationship in order to be herself, and while you obviously understand her, you also see all the chaos she leaves in her wake.
Pues bueno, el día de su cumpleaños 35, ¡PUM!, Laurence le suelta la bomba a Fred, ese secreto que se lo ha estado comiendo vivo por dentro: él se identifica como mujer.. ojo, no es que sea gay, que es lo primero que Fred piensa, él la sigue amando, le sigue gustando ella.. el rollo es que, simplemente, ha vivido toda su vida en el cuerpo equivocado y ya, llegó a su límite, ya no puede más.. quiere empezar su transición para vivir como la mujer que siempre ha sido por dentro, es justo aquí donde la película te agarra y ya no te suelta. Te lanza esa pregunta que creo que todos nos hemos hecho, una pregunta que suena súper simple pero que es brutalmente compleja: ¿el amor de verdad lo aguanta todo? La peli explora esto a través de ellos dos, y lo hace con una honestidad que hasta duele, ¿saben?
Por un lado, está Laurence, que por cierto, el actor Melvil Poupaud hace un papelón, ¡qué bárbaro! Su viaje es de una valentía increíble, hay que acordarse que esto pasa en los 80 y 90, una época donde ser trans era un tabú gigantesco, la gente que se atrevía a ser quien era en ese entonces, eran de las personas más valientes del planeta.. la película no te lo pinta bonito, para nada, vemos a Laurence lidiando con burlas, con gente que no la entiende, con violencia, hay una escena en un bar donde se tiene que defender a golpes que te deja helado. Pero al mismo tiempo, el guion no la pone como una santa, Laurence, en esta búsqueda por ser feliz, también la caga.. puede ser egoísta, puede no entender el dolor que le está causando a la gente a su alrededor, especialmente a Fred.. arriesga una relación que era perfecta con tal de ser ella misma, y aunque obvio que la entiendes, también ves todo el desmadre que va dejando a su paso.
And then there's Fred. The actress, Suzanne Clément, delivers one of the most heartbreaking and powerful performances I have ever seen in my life. If this were an American film, she would be showered with all the Oscars, I assure you. Fred is like the heart of the whole story. At first, obviously, she's thrown for a loop, feels betrayed, her world comes crashing down, but she loves Laurence so much that she really, truly tries her best to accept everything. There's a scene that's one of my favorites, it's so tender: when she takes him shopping and helps him pick out his first wig. It's a moment of such vulnerability and tenderness that it breaks your heart with its beauty. But the film makes it very clear that sometimes, no matter how strong love is... it's just not enough. And we see Fred dealing with this radical change in her partner, a change she never asked for and wasn't ready for. We see how the situation devastates her, how it eats her alive. There's a scene in a restaurant that is... legendary!
I felt like I wasn't watching a movie, but watching a person break into a thousand pieces in real time. It's through Fred that the question of unconditional love hits you the hardest. How much can a person take? At what point does love for the other person clash with self-love? Can we blame her for setting a boundary? The film forces you to sit there with these uncomfortable questions. Now, on the artistic side, Laurence Anyways is a delight, a true feast for the eyes. The cinematography, the use of color... it's incredible. Every shot is a painting, I swear. Dolan uses the colors of the clothes to tell you how the characters are feeling, and he does it very deliberately.
There are shots that are like a dream, somewhat surreal, with perfect music that pulls you right into the characters' minds. There's a scene you'll never forget where autumn leaves fall on Laurence and Fred, but in an almost violent way, as if nature itself were screaming at them that there's no going back, that no matter how much they want to, they can't return to what they were. It's that music video style I was talking about; Dolan isn't afraid to be super graphic with his visuals to show you an emotion that couldn't be conveyed with words alone.
Y luego está Fred.. la actriz, Suzanne Clément, se avienta una de las actuaciones más desgarradoras y potentes que he visto en mi vida.. si esta fuera una peli gringa, le lloverían todos los premios Oscar, se los aseguro, Fred es como el corazón de toda la historia.. al principio, obvio, se saca de onda, se siente traicionada, se le viene el mundo encima, pero quiere tanto a Laurence que de verdad, de verdad le echa ganas para aceptar todo. Hay una escena que es de mis favoritas, es súper tierna: cuando lo lleva de compras y le ayuda a escoger su primera peluca.. es un momento de una vulnerabilidad y una ternura que te rompe el corazón de lo bonito que es. Pero la película te deja bien claro que a veces, por más fuerte que sea el amor, pues… no alcanza.. y vemos a Fred lidiando con este cambio tan radical en su pareja, un cambio que ella nunca pidió y para el que no estaba lista, vemos cómo la situación la devasta, cómo se la come viva.. hay una escena en un restaurante que es… ¡legendaria!
Sentí que no estaba viendo una película, sino que estaba viendo a una persona romperse en mil pedazos, en tiempo real.. es con Fred que la pregunta del amor incondicional te pega más duro. ¿Cuánto puede aguantar una persona? ¿En qué punto el amor por el otro choca con el amor propio? ¿La podemos culpar por poner un límite? La peli te obliga a quedarte ahí sentado con esas preguntas tan incómodas.. ya en la parte artística, Laurence Anyways es un agasajo, un verdadero festín para los ojos. La fotografía, el uso del color… es increíble, cada toma es una pintura, se los juro, Dolan usa los colores de la ropa para contarte cómo se sienten los personajes, y lo hace súper a propósito.
Hay unas tomas que son como un sueño, medio surreales, con una música perfecta que te mete de lleno en la cabeza de los personajes.. hay una escena que no se te olvida donde les caen hojas de otoño a Laurence y a Fred, pero de una forma casi violenta, como si la misma naturaleza les estuviera gritando que ya no hay vuelta atrás, que por más que quieran, no pueden regresar a lo que eran.. es ese estilo de video musical del que les hablaba; a Dolan no le da miedo ser súper gráfico con las imágenes para mostrarte una emoción que con puras palabras no se podría.
So, in the end, what answer does the film give us? Does unconditional love exist? Well, at least in this story, the answer seems to be a no, a gigantic no. Love has conditions, for everyone. Fred's love for Laurence, which seemed infinite, had its fine print. The brilliant thing is that the film doesn't judge them for it; it shows them as what they are: human. They lie, they screw up, sometimes they're selfish, but they also love with all their heart and fight tooth and nail to be happy. But for me, the most powerful lesson that Laurence Anyways left me with isn't about romantic love, but about loving yourself. The film teaches you how fundamental it is to be true to yourself, to be loyal to who you are, no matter how difficult the path or who you might hurt in the process. Laurence, despite all the suffering, chooses to live her truth and, in doing so, finds a kind of freedom.
Fred, on the other hand, gets trapped in another lie, trying to fit into a life that is no longer hers. Honestly, I identified with that message. I think we've all felt that pressure to fit in, to be what others expect, but in the end, the only life we have is our own, and living it as we truly are is the most courageous and necessary act there is. Laurence Anyways is a beautiful, heartbreaking, inspiring, and visually insane film. It's one of those works that changes your perspective a bit, you know? It leaves you thinking, makes you feel a ton of things, and it stays with you. It's not an easy film, I'm warning you. It's long and emotionally draining, but it's worth every damn second. For all this, for its brutal honesty, its unforgettable performances, its genius direction, and its visual beauty, I give Laurence Anyways a 9.5/10. It's a nearly perfect work of art. If you get a chance this month, or whenever, please, seek it out. You won't regret it. It's a cinematic experience that, I promise you, you won't forget easily. And well, that's all, folks! See you soon for more reviews, take care, bye-bye!
Entonces, al final, ¿qué respuesta nos da la película? ¿Existe el amor incondicional? Pues miren, al menos en esta historia, la respuesta parece ser un no, pero un no gigantesco, el amor tiene condiciones, para todos.. el amor de Fred por Laurence, que parecía infinito, tenía sus letras chiquitas, lo genial es que la película no los juzga por eso, te los muestra como lo que son: humanos.. mienten, la cagan, a veces son egoístas, pero también aman con todo y luchan con uñas y dientes por ser felices. Pero para mí, la lección más cabrona que me dejó Laurence Anyways no es sobre el amor romántico, sino sobre quererte a ti mismo, la película te enseña lo fundamental que es serte fiel, ser leal a quién eres, sin importar lo difícil que sea el camino o a quién puedas lastimar en el proceso, Laurence, a pesar de todo el sufrimiento, elige vivir su verdad y, al hacerlo, encuentra una especie de libertad.
Fred, por otro lado, se queda atrapada en otra mentira, tratando de encajar en una vida que ya no es la suya.. la verdad, me identifiqué con ese mensaje. Creo que todos hemos sentido esa presión de encajar, de ser lo que los demás esperan, pero al final, la única vida que tenemos es la nuestra, y vivirla como realmente somos es el acto más valiente y necesario que hay, Laurence Anyways es una película hermosa, desgarradora, inspiradora y visualmente es una locura.. es una de esas obras que te cambia un poquito el chip, ¿saben? Te deja pensando, te hace sentir un montón de cosas y se te queda grabada, no es una película fácil, se los advierto, es larga y te drena emocionalmente, pero vale cada maldito segundo.. por todo esto, por su honestidad tan brutal, sus actuaciones inolvidables, la dirección que es una genialidad y su belleza visual, yo le doy a Laurence Anyways un 9.5/10. Es una obra casi perfecta, si tienen chance este mes, o cuando sea, por favor, búsquenla.. no se van a arrepentir, es una experiencia de cine que, se los prometo, no van a olvidar fácilmente. Y bueno, eso es todo amigos! Nos veremos próximamente en más reseñas, cuidense mucho, byebye!
Tell me... have you seen this movie? Has it caught your attention? Tell me what you thought of this review with my opinion, and tell me if it has made you want to watch this movie. You can leave me in the comments your recommendations for future publications! 😊
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Conocedor de Futbol y las MMA pero malo practicando deportes, me gusta las peliculas y series por eso ahora..."Soy critico de Cine". Viviendo en Venezuela
El 2025 se convirtió en el año de las adaptaciones de obras escritas por Stephen King, entre series como "The Institute" e "It: Welcome to Derry" junto a películas como "The Monkey", "The Running Man", "The Life of Chuck" y "The Long Walk" han generado diferentes reacciones y justamente la obra que relata la historia de un Estados Unidos distópico en donde un grupo de jóvenes debe exponer lo más preciado para el entretenimiento de poderosos, generó opiniones positivas que me motivaron a ver una película, aunque precavido al ya haber visto muchas películas que usan el tema generacional en donde la juventud es usada no solo como entretenimiento, sino como un objeto sin ningún valor.
2025 became the year of adaptations of works written by Stephen King, including series such as The Institute and It: Welcome to Derry, along with films such as The Monkey, The Running Man, The Life of Chuck, and The Long Walk have generated different reactions. The work that tells the story of a dystopian United States where a group of young people must expose what is most precious to them for the entertainment of the powerful generated positive opinions that motivated me to see a movie, although I was cautious, having already seen many films that use the generational theme where youth is used not only as entertainment but as an object without any value.
La frase promocional "Camina o Muere" es más que perfecta para explicar la historia original de King y que tanto el director Francis Lawrence, junto al guionista JT Mollner, recrearon de una manera correcta, ya que desde la obra, así como en la película, la historia nos hace pensar en el pasado, el presente y en un futuro que nadie debió, vive o espera vivir. En esta producción a pesar de lo limitado de los escenarios o el enfoque de diferentes y a la vez pocos personajes en su marcha mortal posiblemente se considera como algo fácil de dirigir, pero creo que Lawrence estaba dispuesto a aprovechar la oportunidad y mostrar imágenes hermosas de una historia trágica, dramática y a la vez terrorífica; los diferentes lugares que se muestran en el viaje, más el impacto de la tensión al momento de eliminar a los caminantes es una demostración de la necesidad de Lawrence, en recrear confianza y esperanza no solo en los personajes, sino en el espectador, creo que una característica necesaria en dónde quien observa la película necesita recrear simpatia con los protagonistas, lo cual al momento de hacer apariencia la competencia mortal, se genera un impacto de la realidad que ofrece la historia; esos cambios y la necesidad de enfocar los motivos, la fortaleza y falencia de los personajes es lo más importante del film y en mi opinión un buen trabajo del director.
The promotional slogan "Walk or Die" is more than perfect for explaining the original story of King and that both director Francis Lawrence, along with screenwriter JT Mollner, recreated it correctly, since both the book and the film make us think about the past, the present, and a future that no one should have lived, is living, or hopes to live. In this production, despite the limited settings and the focus on different yet few characters in their deadly march, it could possibly be considered easy to direct, but I believe that Lawrence was willing to seize the opportunity and show beautiful images of a tragic, dramatic, and terrifying story. The different places shown on the journey, plus the impact of the tension when eliminating the walkers, demonstrate Lawrence's need to recreate trust and hope not only in the characters but also in the viewer. I believe this is a necessary feature in which the viewer needs to recreate sympathy with the protagonists, which, when the deadly competition appears, generates an impact of the reality that the story offers. These changes and the need to focus on the motives, strengths, and weaknesses of the characters are the most important aspects of the film and, in my opinion, a good job by the director.
La historia en sí usa primeramente la diferencia generacional y la necesidad de la imposición del poder de uno sobre otros; es ahí donde el terror se hace presente, un terror real que ha existido en toda la historia de la humanidad, en donde el uso de generaciones jóvenes debe poner en peligro lo más preciado para poder dar valor a ideas de otros que sí tienen la necesidad de morir viejos. Mientras veía la película y sin haber leído la novela en la cual se basa, pensaba que King la escribió viendo cómo una generación se perdió en la guerra de Vietnam, pero también me hizo pensar en las subsiguientes y las que posiblemente se deban enfrentar, y en eso me pareció un buen trabajo de Mollner, en el guion para este film.
The story itself primarily uses generational differences and the need to impose power over others; this is where terror comes into play, a real terror that has existed throughout human history, where the use of younger generations must jeopardize what is most precious in order to give value to the ideas of others who do have the need to die old. While watching the film, and without having read the novel on which it is based, I thought that King wrote it seeing how a generation was lost in the Vietnam War, but it also made me think about subsequent generations and those that may have to face similar situations, and in that sense I thought Mollner did a good job with the script for this film.
las actuaciones de quienes lideran esta película es de lo más positivo del film, es notoria la camaderia entre ellos, se nota que existió un gran amistad que se plasmó en las muchas escenas y que aumenta el dramatismo y horror por la prueba que están realizando; el trabajo tanto de Cooper Hoffman y David Jonsson, interpretando a "Ray" y "Pete", son los más destacables de las demás interpretaciones, la historia está narrada desde el punto de vista de ambos quienes deciden apoyarse, acompañarse en las millas que deben transitar para así tener la oportunidad de reclamar el gran premio, eso los hace desarrollar como personas en dónde no esconden sus motivos, sus traumas y añoranzas para un futuro inmediato o próximo; esa posiblemente sea la única diferencia entre ambos aunque al final es entendible sus decisiones y su manera de dejar marca en un medio de entretenimiento mortal; espero que las actuaciones de ambos sean de alguna manera reconocida, ya que en ellos esta la verdadera fortaleza de la película.
The performances of the film's lead actors are one of its strongest points. The camaraderie between them is evident, and it is clear that they shared a great friendship, which is reflected in many scenes and adds to the drama and horror of the experiment they are conducting. The work of both Cooper Hoffman and David Jonsson, playing "Ray" and "Pete," stands out from the other performances. The story is told from the point of view of the two men, who decide to support and accompany each other on the miles they must travel in order to have a chance at claiming the grand prize. This makes them develop as people who do not hide their motives, their traumas, and their longings for the immediate or near future. That is possibly the only difference between the two, although in the end their decisions and their way of leaving their mark on a deadly form of entertainment are understandable. I hope that the performances of both are recognized in some way, as they are the true strength of the film.
Personalmente no tenía muchas expectativas de ver The Long Walk, creo que al leer ciertas opiniones positivas y que en muchas oportunidades, producciones basadas en las obras escritas por King, no alcanza lo esperado, me hizo sentir que pudiera ver está película en cualquier momento y a pesar de que este tipo de historias pueden ser predecibles, creo que está en su desarrollo la verdadera importancia y en este film, se hace un buen trabajo demostrando la inocencia y la vulnerabilidad de la juventud, una que es siempre usada para cualquier medio u orden impuesta por los más poderosos a sabiendas que en pocos momentos habrá más para suplantar; eso es lo que me hizo sentir enojo porque está historia originalmente se escribió en 1979 y ver está versión 46 años después y que siga siendo tan actual es lo que me hace pensar que el terror que ofrece está historia "ficticia\ñ" tiene mucha realidad.
Personally, I didn't have high expectations for The Long Walk. I think that reading certain positive reviews and knowing that, in many cases, productions based on works written by King don't live up to expectations made me feel like I could watch this movie at any time. And even though these types of stories can be predictable, I believe that its true importance lies in its development. This film does a good job of demonstrating the innocence and vulnerability of youth, which is always used for any means or order imposed by the most powerful, knowing that in a few moments there will be more to replace it. That's what made me angry because this story was originally written in 1979, and seeing this version 46 years later and realizing that it is still so relevant makes me think that the terror offered by this "fictional" story is very real.
Hola mi bella gente de esta hermosa plataforma, hoy empezando el mes de diciembre, el mes de la alegria por esta epoca del año. Asi que yo les deseo un feliz inicio de mes y desde ya feliz navidad para todos. Con esta ediciòn empezamos el mes.
Portada realizada por mi.
INTRODUCCIÒN.
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Azucena es una telenovela producida por Radio Caracas Televisión (RCTV) en 1984. Su historia, centrada en conflictos sociales, clases económicas y traiciones, ofreció un melodrama con fuerte carga emocional y giros intensos, lo que la convirtió en una obra recordada de la televisión venezolana de los años ochenta.
-Título: Azucena.
-País: Venezuela.
-Canal & Productora: RCTV.
-Año de emisión: 1984.
-Número de episodios: 32 Capitulos.
-Protagonistas: Grecia Colmenares como Azucena Rodríguez, Javier Vidal como Rodolfo Itriago.
-Género: melodrama romántico social.
-Tema Musical: "Mia" compuesto por Carlos Mata & "Solo faltas tu" Compuesto por Ilan Chester.
Azucena Rodríguez es una joven humilde del barrio cuyos sueños de casarse con Rodolfo Itriago, un joven de clase alta, se derrumban cuando la familia de él especialmente su madre y una ambiciosa pretendiente conspiran para impedir la unión, por considerarla “no apta” socialmente.
Bajo presiones, Rodolfo es obligado a comprometerse con otra mujer. Azucena, embarazada de Rodolfo sin que él ni su familia lo sepa, decide aceptar casarse con otro hombre para proteger su futuro y el de su hijo. Pero cuando las verdades salen a la luz, el amor, el engaño, los celos y las injusticias spectacularmente confluyen en una trama de culpas, resentimientos y búsqueda de identidad.
Mientras tanto, los conflictos secundarios familiares, económicos, de poder y traición, tensan el destino de todos los personajes, haciendo de Azucena no solo una historia de amor, sino un reflejo social de desigualdades y redención.
La novela destaca por su dramatismo clásico: pobreza vs. riqueza, amor prohibido, secretos revelados y traiciones familiares. La interpretación de Grecia Colmenares como Azucena logra conmover, ayudando a construir un personaje vulnerable, digno y con fuerza ante la adversidad. Por su parte, Javier Vidal plantea un conflicto interior creíble como el galán dividido entre el deber familiar y el amor verdadero.
El conflicto social, la disparidad de clases, los prejuicios, funciona como telón de fondo realista, lo que da a la telenovela un tono más humano y crítico que muchas de sus contemporáneas. Además, con solo 32 episodios, logra mantener intensidad narrativa sin diluir la trama, lo que requiere disciplina en el guion y buen ritmo dramático.
Azucena (1984) es una telenovela de impacto notable dentro de la producción dramática venezolana de su época. Representa una historia de lucha, injusticia, amor prohibido y redención. Esta novela representa un perfecto ejemplo de melodrama social con sensibilidad humana, ideal para documentar la evolución de las telenovelas venezolanas en los ochenta, su tratamiento de clases sociales y conflictos personales.
Bueno mi gente bella esta es la ediciòn del dia de hoy, espero que les traiga muchos recuerdos esta novela, es una gran obra de la televisiòn, y por lo tanto tenia que estar aqui en este gran archivo que estamos creando en nuestra revista. Otra cosa ya vamos rumbo a la ediciòn nuemero 100 de "La telenovela en Venezuela". Mil bendiciones para todos.
Written by: Ronald D. Moore
Directed by: Robert Scheerer
Running Time: 45 minutes
Star Trek was forged under the shadow of the Cold War, a geopolitical reality that inevitably seeped into its narrative DNA despite Gene Roddenberry’s utopian vision of a harmonious future. While The Original Series occasionally grappled with allegorical representations of superpower tensions, it was The Next Generation, airing two decades later, that confronted Cold War dynamics with remarkable explicitness. The irony deepens when one considers that one of the franchise’s most potent allegorical examinations of Cold War paranoia and brinkmanship reached screens less than two months after the Berlin Wall’s collapse in November 1989. This episode was The Defector, widely acclaimed not merely as among TNG’s finest hours but arguably as one of the most compelling works in Star Trek’s entire canon—a tragic meditation on loyalty, deception, and the devastating personal costs of geopolitical chess games.
The narrative commences with the USS Enterprise dealing with a diplomatically volatile scenario within the Neutral Zone. A Romulan scout vessel breaches the boundary, pursued by a formidable warbird, and barely crosses into Federation space before the Enterprise effects a rescue. Its lone occupant, a Romulan fleet clerk identifying himself as Setal (David Sloyan), claims to possess intelligence of paramount strategic significance, offering it in exchange for asylum. This initial premise immediately establishes the episode’s central tension: the fragility of trust between ancient adversaries. Starfleet Admiral Haden (John Hancock) subsequently informs Captain Picard that the Romulan Star Empire has formally demanded Setal’s repatriation—a request the Federation refuses, thus escalating tensions. The defector’s credibility, however, is severely undermined when he dramatically reveals his true identity as Admiral Jarok, a high-ranking Romulan officer. Jarok insists the Romulans have violated their decades-long treaty of non-aggression, constructing a clandestine military installation on Nelvana III within the Neutral Zone—a base capable of launching devastating surprise attacks across multiple Federation sectors. Picard, ever the cautious diplomat, remains deeply sceptical, particularly when Jarok urges him to personally verify the intelligence by sending the Enterprise into the Zone—an act that could itself precipitate war.
Picard’s reluctant decision to investigate Nelvana III results in an unsettling revelation: the planet is entirely devoid of military activity. Before the Enterprise can withdraw, two Romulan D’deridex-class warbirds, commanded by the Commander Tomalak (Andreas Katsulas), materialise and demand Picard’s surrender. Tomalak asserts that the Enterprise’s incursion constitutes an unambiguous act of war. Picard’s calm refusal to capitulate creates a perilous standoff that threatens galactic conflagration—only averted by the timely, almost miraculous arrival of three Klingon Bird-of-Prey vessels decloaking around the Romulan ships. This intervention tilts the balance of power, compelling the Romulans to disengage. Yet, for Jarok, the resolution brings no solace. His defection had been entirely genuine, motivated not by personal ambition but by profound paternal fear: he believed the Romulan leadership was preparing for a war that would annihilate the future of his young daughter. Tragically, he realises he had been deliberately fed false intelligence—a loyalty test disguised as a defection opportunity. His personal sacrifice, intended to prevent catastrophe, had been weaponised by his own government to lure the Federation into a casus belli. Utterly broken by the realisation that his betrayal of everything he had sworn to protect had achieved nothing but to serve his enemies’ agenda, Jarok takes his own life. Picard discovers a poignant suicide note addressed to Jarok’s family—a note Picard sorrowfully acknowledges he cannot deliver, though he clings to a fragile hope that someday, somehow, he might.
Penned by Ronald D. Moore in only his second TNG script, The Defector heralded the arrival of a writer who would become a true titan of Star Trek’s golden age. Originating from a relatively straightforward concept—a ‘Cuban Missile Crisis in space’—Moore’s script transcends mere allegory. It masterfully utilises Cold War tropes not as simplistic parallels but as foundations for suspenseful drama, intricate narrative twists, and rich worldbuilding executed with meticulous attention to continuity. A particularly effective example is Jarok’s tense encounter with Lieutenant Worf, which subtly references the events of the earlier Romulan-focused episode The Enemy. Moore’s genius lies in his refusal to simplify morality; the Romulans are not cartoonish villains but highly intelligent adversaries whose capacity for psychological manipulation and strategic deception is genuinely formidable. Picard, despite his renowned intellect and measured approach, falls into their trap—a testament to the script’s respect for both its characters and its audience’s intelligence. The Klingon intervention, which might otherwise feel like a contrived deus ex machina, is subtly foreshadowed earlier when Picard mentions establishing discreet communication channels with the Klingon Empire—a detail easily missed but crucial for narrative cohesion.
Visually, the episode might appear restrained—there is minimal action beyond the tense standoff—but its narrative momentum never falters, propelled by exceptional dialogue and powerhouse performances. David Sloyan’s portrayal of Jarok remains one of TNG’s most underappreciated triumphs. He crafts a character of profound complexity: a man torn between his ingrained loyalty to the Romulan Empire and his desperate desire to protect his child’s future. Sloyan conveys Jarok’s internal conflict with remarkable subtlety—the quiet agony of a man who has betrayed his oath yet believes it morally justified, only to discover his sacrifice was cynically exploited. His final scene, realising the depth of the deception, is utterly heartbreaking. It is no surprise Sloyan would return to the Star Trek universe thrice more, playing distinct roles in TNG, Deep Space Nine, and Voyager. He is superbly complemented by Andreas Katsulas, whose brief reappearance as Tomalak radiates cold, calculating menace—a perfect counterpoint to Jarok’s tragic vulnerability.
Director Robert Scheerer deserves equal commendation for his assured handling of the material. He sustains unbearable tension during the standoff sequence, utilising tight close-ups on Picard’s stoic face and sweeping shots of the imposing Romulan vessels to emphasise the Enterprise’s vulnerability. His pacing allows the dialogue-heavy scenes to breathe while maintaining relentless narrative drive. Equally vital is Ron Jones’s musical score—a haunting composition that underscores Jarok’s tragedy without sentimentality.
Some purists might critique the episode’s opening holodeck sequence as an unnecessary digression. Here, Picard attempts to teach Data about human intuition through a theatrical exercise, staging a scene from Shakespeare’s Henry V with Data in the titular role. Picard himself appears holographically as the common soldier Williams—a clear homage to Patrick Stewart’s distinguished stage career. This subplot, inspired by Kenneth Branagh’s acclaimed film adaptation released months prior (which Data explicitly references), does momentarily divert from the central thriller plot. Yet it serves a crucial thematic purpose: it establishes Picard’s profound understanding of human nature, foreshadowing his later ability to perceive Jarok’s genuine anguish beneath the layers of deception. The Henry V parallels resonate deeply—Picard, like the king disguised among his men before Agincourt, seeks to understand the motivations of those who serve empires. When Jarok laments his betrayal of the Romulan homeworld, Picard’s response echoes Henry’s famous soliloquy on the burdens of leadership and the loneliness of command.
The Defector is not merely as a superb piece of science fiction but as a timeless exploration of the human condition under geopolitical pressure. It captures the precise moment when Cold War anxieties were simultaneously dissolving and being re-examined through a futuristic lens. Moore’s script refuses easy resolutions; Jarok’s death brings no victory, only a profound sense of waste. The Romulans retreat not from defeat but from tactical inconvenience, their deceptions intact. Picard’s final gesture—keeping Jarok’s letter in the hope of someday delivering it—offers fragile redemption, a small act of humanity in a universe governed by cold strategy. In an era when Star Trek often preached optimism, The Defector dared to argue that the path to peace is paved with tragic compromises and broken lives. Aired as one geopolitical era ended, it remains a chilling reminder that the shadows of suspicion and the costs of mistrust endure long after walls crumble.
I thought this series was over, but of course, this story has a lot to tell, and as always, it begins and ends with everything, leaving you even more intrigued, waiting for that grand finale. These are the kinds of stories that, even though you don't understand them well at first, as you progress, you start to connect the dots with each character.
Let's recap a little bit about what it's about, since this series has been around since 2016, and recently, its 5th season was released, the memorable Stranger Things.
Esta serie, pensé que había terminado, pero claro que, es que esta historia tiene mucho que contar, y como siempre, empieza y termina con todo, dejándote aún más intrigado, esperando ese gran final, son este tipo de historias, que aunque al principio no entiendes bien, a medida que avanzas vas atando cabos, con cada personaje.
Recordemos un poco de que se trata, ya que esta serie tiene su tiempo, desde el 2016, y recientemente, salió su 5ta temporada, la recordada Stranger Things
This series begins with the disappearance of a child in a small town in 1983. From there, the enigmatic story unfolds as his family, friends, and sheriff embark on a desperate search, encountering strange beings with paranormal powers, surrounded by experiments and terrifying events. Among them is the presence of a super-rare girl with extraordinary powers, who is out of control.
The series consists of five seasons, with the latest appearing to be the final phase of this mysterious but intriguing story.
Those who have seen it have an idea of what it is about, especially the role of each character, starting with this group of young people, who were just children at first, who had to deal with these strange creatures from another world.
On the other hand, let's not forget that this series is set in the 1980s, which makes it even more appealing in my opinion, with that style, a story that takes you back in time, and lets you enjoy those scenes of horror and suspense, reminiscent of Spielberg's old movies.
And now, in this fifth season, we will see how these children, now teenagers, manage to solve this whole mystery involving all these strange beings, save their family and friends, recover their home, but above all, their lives. Will that be possible?
So far, only four episodes have been released, which continue to be just as intriguing and frightening, with that spark of terror and mystery; with the same questions and even some new ones. Remembering the last episode, well, I didn't expect that, or maybe that's what it was all about. In the end, this child with whom all this hell began will be the key to ending it.
It's a large-scale series with its moments of drama, horror, suspense, mystery, and action. You definitely won't get bored. Each character plays their role: Will, Dustin, Mike, Billy, Lucas, and the girl with superpowers, Eleven, along with the antagonists, create a balance in every scene and every episode.
It's definitely a series worth watching. I hope the rest of the episodes come out soon so we can finally find out how the story ends. Of course, as always, the good guys defeat the bad guys, which is no surprise, but the intrigue remains as to how it will happen.
I hope you decide to watch it if you haven't already, and if you have, let me know how you see the ending of this series. I look forward to reading your comments.
SPANISH VERSION
Esta serie inicia con la desaparición de un niño, en un pequeño pueblo, en el año 1983, a partir de aquí, y en su búsqueda desesperada, por parte de su familia, amigos, y sheriff, comienza la enigmática historia, enfrentando seres extraños, con fuerzas paranormales, rodeado de experimentos, y eventos terroríficos. Entre ellos, la presencia de una niña, superrara, con poderes extraordinarios, fuera de sí.
Dicha serie consta de 5 temporadas, donde esta última parece ser, la fase final de toda este misterioso pero intrigante historia.
Para quienes la han visto, tienen una idea de que se trata, sobre todo, del papel de cada personaje, empezando por este grupo de jóvenes, que al principio eran solo niños, a los cuales les toco lidiar con estas criaturas extrañas, de otro mundo.
Por otra parte, no olvidemos que esta serie, se ejecuta en una época ochentera, lo que la hace aún más atractiva a mi parecer, con ese estilo, una historia que te hace viajar en el tiempo, y disfrutar de esas escenas de terror y suspenso, recordando el viejo cine de Spielberg.
Y ahora, con esta quinta temporada, veremos como estos niños, convertido ya en adolescentes, logran resolver todo este enigma con todos esos seres extraños, salvar a su familia, amigos, recuperar su hogar, pero sobre todo, su vida, ¿será eso posible?
Hasta los momentos, solo han salido cuatro episodios, los cuales, siguen siendo igual de intrigantes, atemorizantes, con esa chispa del terror y misterio; con las mismas e incluso algunas nuevas interrogantes, y recordando el último episodio, bueno, eso si no me lo esperaba, o quizás, de eso se trataba todo esto, a la final, este niño con el cual comenzó todo este infierno, será la pieza clave para terminarlo.
Es una serie de gran escala, tiene sus momentos, drama, terror, suspenso, misterio, acción, sin duda no te vas a aburrir; con cada personaje, ejecutando su papel, Will, Dustin, Mike, Billy, Lucas, y la niña con superpoderes Once., junto con los antagonistas, crean un equilibrio, en cada escena, con cada episodio.
Sin duda es una serie que vale la pena ver, espero pronto salga el resto de los capítulos, para por fin, saber como termina esta historia, por supuesto, como siempre, los chicos buenos acaban con los malos, eso no es sorpresa, pero igual queda la intriga, de como sucederá.
Espero se animen a verla, si no lo han hecho, y si lo hicieron, díganme como ven este final, de esta serie, los leo.
Imágenes obtenidas de themoviedb
Edición Banner y Portada con CANVA/ Banner and Cover Edition with CANVA
As someone born and raised in Split, I have seldom had the pleasure of watching films set in my native city—and even rarer still have been the occasions when I witnessed their production firsthand. One such memory remains vivid: late autumn of 2003, standing a few blocks from Diocletian’s Palace, startled by sudden bursts of fireworks lighting up the ancient stone walls. At the time, it seemed an odd spectacle—unannounced, unrehearsed, almost anarchic. Only later did I learn these pyrotechnics were not part of any civic celebration, but rather scenes being shot for A Wonderful Night in Split, the 2004 anthology drama written and directed by Arsen A. Ostojić. This chance encounter with the film’s making lent a strange intimacy to my eventual viewing, as though I had unwittingly become a peripheral witness to its creation.
Set in the historic heart of Split—locally known as “Grad” or “Get”—the film unfolds over the final two hours before the New Year, interweaving three bleak, interlocking stories. The first follows Nike (Mladen Vulić), a 1990s war veteran turned drug dealer, who dreams of escape to Germany yet finds himself drawn back into a passionate, guilt-ridden affair with Marija (Nives Ivanković), the widow of a fallen comrade. Her young son (Ante Šimun Majstorović) watches with silent resentment, a poignant reminder of the generational trauma festering beneath the surface. The second narrative centres on Maja (Marija Škaričić), a heroin-addicted teenager from a privileged background, who trades sexual favours for her next fix from Franky (Coolio), a despondent US Navy sailor nursing heartbreak of his own. The third thread traces Luka (Vicko Bilandžić), a recovering addict whose attempt to consummate his relationship with Anđela (Ivana Rošćić) is thwarted by their inability to find privacy, leading him into a disorienting acid trip. These disparate paths intersect through The Singer (Dino Dvornik), a charismatic MC presiding over the New Year’s festivities and covertly overseeing the city’s underworld.
Ostojić, himself a native of Split, brings an unmistakable authenticity to the film. His deep familiarity with the city’s topography and psyche ensures that A Wonderful Night in Split transcends mere location shooting; the stone alleys, crumbling facades, and claustrophobic courtyards become characters in their own right. The choice to film in black-and-white—courtesy of cinematographer Marko Pivčević—further intensifies the film’s mood of despair, draining the famously sun-drenched Adriatic city of its postcard charm and exposing its grim underbelly. This aesthetic decision cleverly evokes the legacy of post-war European cinema, particularly Carol Reed’s The Third Man, to which Ostojić pays subtle homage through shadowy compositions and morally ambiguous protagonists.
Critically, the film was lauded in Croatia and even selected as the country’s official submission for the Academy Award for Best International Feature Film. Yet its reception among the general public, especially in Split itself, was markedly cooler. Locals, perhaps unwilling to confront the uncomfortable truths the film laid bare—drug addiction, economic stagnation, moral decay in the wake of the 1990s war—largely shunned it. This disconnect highlights a recurring tension in Croatian cinema: art-house ambition versus popular appeal. A Wonderful Night in Split firmly belongs to the former camp, embracing an anthology structure, pessimistic worldview, and stylistic austerity that align more with festival sensibilities than box-office success.
That said, the film is not without merit. Ostojić demonstrates impressive control for a first-time feature director, weaving his narratives with confidence and emotional precision. Nives Ivanković delivers a fearless performance, navigating a sexually explicit scene with raw vulnerability—a rarity in Croatian film. Marija Škaričić is equally compelling, portraying Maja’s tragic descent with heartbreaking nuance. And Dino Dvornik, the late musical icon whose flamboyant persona once embodied the spirit of Split, imbues The Singer with a weary gravitas that anchors the film’s chaotic energy.
Ironically, the film’s weakest element is its most internationally recognisable: Coolio. Though earnest in his portrayal of Franky, the American rapper-turned-actor lacks the subtlety required for such a psychologically layered role. More problematically, his presence feels jarringly out of place—an imported figure whose storyline, while thematically resonant, never quite integrates into the film’s organic urban fabric. His scenes with Škaričić suffer from a lack of chemistry, rendering their encounter more transactional than tragic.
In sum, A Wonderful Night in Split is a flawed but compelling portrait of a city—and a generation—grappling with disillusionment. Its unflinching gaze may have alienated local audiences, but its artistry and authenticity ensure its place as a significant, if sombre, milestone in Croatian cinema.
if you insist on torturing yourself instead of watching Pluribus or Land Man (both great shows) it is only legally available on AppleTV+ 
