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Netflix continues to release new films on the big screen, giving both established and emerging directors the opportunity to share compelling stories that do not rely on elaborate effects or implausible plot twists, but rather on genuine emotions, sincere perspectives, and relatable decisions, all with a touch of horror to create something unique. This is what happened with the film Together, which was a surprise in terms of how it was developed. It is exactly one of those films that very few people talk about, but it stands out because of everything it conveys, reminding us that sometimes the most difficult thing is not to love, but to learn to live with oneself and with others, and that is why it leads us to enjoy a love story with a touch of science fiction.

Los estrenos en la gran pantalla de netflix siguen llegando y eso permite que grandes directores y nuevos tengan la oportunidad de poder compartir muy buena historias de esas que no dependen de efectos enormes ni giros imposibles, sino de mostrar emociones reales, miradas sinceras y decisiones que cualquiera podría tomar y a la vez con un toque de terror para así conseguir algo único. Esto pasó con la película Together, siendo una sorpresa por cómo está desarrollada y es exactamente una de esas películas que muy pocos comentan, pero se vuelve especialmente por todo lo que transmite recordándonos que a veces lo más difícil no es amar, sino aprender a convivir con uno mismo y con el otro y por eso nos lleva a disfrutar una historia de amor con un toque de ciencia ficción.

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This is a film that will surely appeal to those who enjoy romance, as from the very first minute it presents us with a very closed and exclusive space where the protagonists live together, a place that seems to shrink or expand depending on the emotional weight they both carry. In addition, the film has a very realistic touch, with moments of uncomfortable silence and arguments that are repeated over and over again with great respect and affection, which could end badly but remain hidden in the simplest details. Therefore, each of the characters plays and takes on a very important role, being very honest, vulnerable, and without exaggeration, showing their human side. In addition, every gesture has a meaning, and every word, no matter how small, leaves something to piece together the puzzle.

A very well-crafted production that manages to maintain tension in every scene and includes very interesting elements such as the wear and tear and rebuilding that couples can go through. There is also a bit of drama to add excitement, but the emphasis is on reality, with repeated days, emotional exhaustion, fear, and uncertainty about whether they will ever be able to return to a normal life. Tense and lighthearted moments remind us why it is worth trying again and allow it to become special. The film manages to combine humor, pain, and reflection without losing its essence, demonstrating that even in the midst of distance, a meeting point can emerge.

Esta es una película que seguramente se adapta aún estilo de personas que le gusta el romance, ya que desde el primer minuto nos presenta un espacio muy cerrado y exclusivo donde conviven los protagonistas, un lugar que parece encogerse o expandirse dependiendo del peso emocional que ambos cargan. Además, la película tiene un gran toque realista, momentos de silencios muy incómodos, discusiones que se repiten una y otra vez con mucho respeto y cariño, que pueden terminar mal, pero siguen ahí escondidos en los detalles más simples. Por ende cada uno de los personajes juega y toma un papel muy importante siendo muy honestos, vulnerables y sin exageraciones, mostrando su lado humano, además cada gesto tiene un significado y cada palabra, por pequeña que sea, deja algo para ir armando el rompecabezas.

Una producción que está muy bien elaborada y de esa manera lograr que en cada escena mantenga esa tensión y elementos muy interesantes como el desgaste y la reconstrucción que puede llegar a pasar las parejas. Como también un poco de drama, para darle emoción, pero también haciendo énfasis en lo real, al tener días repetidos, el cansancio emocional, miedo y no saber si podrán volver a tener una vida normal, mostrando momentos tensos y ligeros, que hacen recordar por qué vale la pena intentar una vez más y permite que se vuelva especial. La película logra combinar humor, dolor y reflexión sin perder su esencia, demostrando que incluso en medio de la distancia puede surgir un punto de encuentro.

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This is a story that, despite presenting horror and inexplicable changes in the couple, serves perfectly to review our own relationships, see what is failing, what we feel, what we are unable to express, and simply let those moments that matter slip by, until in the end everything turns into chaos. That's why I found this production to be very simple, without much filler, and with a plot that can leave a mark, since it seeks to connect and does so in such a direct way that it's impossible not to see yourself reflected in some scene.

That's why, just a few days after its premiere, I've already seen several reviews in the community saying that Together is worth watching because it talks about what we've all felt at some point in a relationship, where there is the difficulty of loving, the fear of losing, the need to rebuild, and the hope that, even in the most difficult moments, there is always the possibility of finding each other again and being happy. You don't have to be a fan of drama to enjoy it; you just have to be human.

Esta es una historia que por más que presente cosa de terror y cambios inexplicables en la pareja, sirve perfectamente para revisar nuestras propias relaciones, ver en qué se está fallando, lo que se siente, lo que no se logra expresar y simplemente se van dejan pasar esos momentos que si importa y a la final todo se convierte en un caos. Por eso es una producción que me pareció muy sencilla, sin tanto relleno y una trama que pueden marcar, puesto que busca conectar y lo hace de una manera tan directa que es imposible no verse reflejado en alguna escena.

Por eso Together con tan solo pocos días de su estreno, ya he visto varias reseñas en la comunidad y deseas que vale la pena ver porque habla de lo que todos hemos sentido alguna vez al tener una pareja, donde esta presente dificultad de amar, el miedo a perder, la necesidad de reconstruir y la esperanza de que, incluso en los momentos más difíciles, siempre existe la posibilidad de volver a encontrarse y ser felices. No hace falta ser fan del drama para disfrutarla; basta con ser humano.

Sentencia Previa - Un futuro distópico || Reseña y opinión

A few days ago, while browsing through the films currently showing, I came across Pre-Judgement. I saw this film years ago and remember being pleasantly confused by it. When I finished watching it, I said that I would watch it again in the future to understand it better. It stars Tom Cruise, one of my favourite actors, who is involved in a crime that he appears not to have committed, but in the end, he did. If you watch it, you will understand this comment.

Minority Report is a 2002 film directed by Steven Spielberg in the action, science fiction, suspense, and crime genres. It deals with a somewhat dystopian future, but not one that is far from reality, as I believe that with advances in artificial intelligence and changes in laws, we could end up in a world similar to the one presented in this film.

Tom Cruise plays a police officer who is in charge of verifying a system that prevents crimes. In fact, it is called precrime and consists of sentencing in advance anyone who is going to commit a crime, based on the visions of three people, two twin brothers and a woman, all of whom have special gifts for predicting the future. If the three coincide in the same vision, the crime will be executed. With this system, the government managed to eradicate the rate of violence and become a role model for other governments. However, like any system, it can have flaws and deviations in interpretation.

This is where the protagonist becomes aware of the visions that compromise him and tries to prove that the system has flaws, since he has no intention of committing a crime. In the process, he realises that the mystics are used as machines without rest and that reality can be seen from various angles. Everything becomes confusing and intense when you want to hide evidence while searching for the reasons behind the events. In this part of the film, the science fiction scenes have a mixture of technology and advances, but also backwardness, and here the costumes and the atmosphere played a special role.

The dialogue they used was very simple and the speech maintained a line of black humour and sarcasm, generating anguish and a lot of action based on what the protagonist conveyed in his desperate escape from the very system to which he belonged. I remember that one of the most shocking scenes for me was when he had his eyes removed and replaced with others, because as it is illegal, it did not comply with health and safety measures, and seeing that made me feel very disgusted and afraid.

It is a film with unexpected twists that keep the viewer in suspense, as the protagonist goes from being the victim to the culprit and vice versa. As everything happens quickly, you have to pay attention, as it surprises you and leaves you reflecting on the justice system, the judgements and prejudices that we humans have. The central theme is free will. Let's say that, hypothetically, there was something like a pre-crime system. I do not believe that in order to prevent crime, suspects should be imprisoned. The best way to do this will always be to educate society in values, empathy and responsibility for their actions from childhood, so as to avoid punishing adults for their mistakes. A science fiction classic that we should all see.

When life becomes valued only by a case number and a piece of paper.

Cuando la vida pasa a ser valorada por un número de expediente y un trozo de papel.

This week I decided to subscribe to Prime Video again. The reason was No Brakes and Maxton Hall by Mona Kasten. Of course, today my intention is to share how excellent my experience was watching No Brakes. My family currently lives in Chile, and this series reflects the reality, the wounds, and the social divide caused by the forced displacement of thousands of Venezuelans.

No Brakes is a clever series that showcases Venezuelan, Chilean, Colombian, and Haitian talent; however, its strength lies in the harsh reality many migrants face when they are forced to relocate to Chile. The series delivers exquisite dark humor, and the level of production is impressive. From beginning to end, I laughed. The comedy blends culture, superficiality, infidelity, and the constant pursuit of self-improvement.

I discovered this series thanks to Scarlet Ortiz (she is my favorite Venezuelan actress). Her husband, Yul Bürkle, stars in No Brakes. The series begins with the death of a Chilean man who was deeply in debt and bankrupt. Cucho led a hidden life and, upon dying, left behind a massive debt that forced his wife to sell their house.

The series was filmed in one of the middle- or upper-class neighborhoods of Santiago. I found the panoramic views incredible. Something peculiar about the neighborhood’s design is that it resembles middle-class suburban areas in the United States. The level of greenery is beautiful. I mention this because I have a strong interest in urban planning.

Esta semana opté por suscribirme nuevamente a Prime Video. La razón se debe a No Brakes y Maxton Hall de Mona Kasten. Claro, mi intención hoy es compartir lo excelente que fue mi experiencia disfrutando No Brakes. Mi familia vive actualmente en Chile y esta serie muestra la realidad, las heridas y la grieta social causada por el fenómeno de desplazamiento forzado de miles de venezolanos.

No Brakes es una serie ingeniosa que exhibe el talento venezolano, chileno, colombiano y haitiano; pero la fuerza recae en la dura realidad que poseen muchos migrantes al desplazarse a Chile de manera forzosa. Esta serie muestra un humor negro exquisito, el nivel de trabajo que posee es muy bueno. De principio a fin me reí. La comedia mezcla la cultura, la superficialidad, la infidelidad y la necesidad de superación.

Me enteré de esta serie por Scarlet Ortiz (ella es mi actriz venezolana favorita). Su esposo Yul Bürkle actuó en No Brakes como protagonista. La serie inicia con la muerte de un chileno que se encontraba endeudado y en quiebra. Cucho tenía una vida oculta y además dejó al morir una deuda millonaria que obligaba a su esposa a vender su casa.

La serie se construyó en uno de los barrios de clase media o millonaria de Santiago. Las visiones panorámicas me parecieron increíble. Algo peculiar del diseño de este barrio es que se parece a los barrios de clase media estadounidenses. El nivel de arborización es precioso. Hago esta acotación porque me gusta el urbanismo.

The protagonist of the series is Tiluca, a role played by Javiera Contador. Tiluca is a Chilean woman who has never worked and suddenly sees her world turn upside down after the death of her husband, Chucho. At the wake, she discovers that he was bankrupt and that she is now poor. Tiluca’s character is splendid and genuinely funny. She is a sophisticated woman, yet willing to break the social rules she was raised with. I laughed so much with this character. She also embodies beauty and human warmth.

Yul Bürkle plays Julio César, who was Tiluca’s husband’s lover. That part didn’t quite fit and felt somewhat forced, but when he arrives at the wake looking for his beloved and learns that he has died—and was married—the comedy truly begins.

La protagonista de la serie es Tiluca papel que interpretó Javiera Contador. Tiluca es una mujer chilena que nunca ha trabajado y que ve cómo su mundo hace un giro de 180 grados después de la muerte de su esposo Chucho. En el velorio se enteró que estaba en la quiebra y era pobre. El papel de Tiluca es esplendido, te hace reír. Es una mujer sofisticada, pero dispuesta a romper las reglas sociales con las que fue criada. Me reí mucho con este personaje. Además, ella muestra la belleza y la calidez humana.

Yul Bürkle actuó como Julio César, quien era el amante del esposo de Tiluca. Esa parte no encajó mucho, se sentía forzado, pero cuando él llega al velorio buscando a su enamorado, se entera de que ha muerto y que estaba casado. La comedia arranca ahí.

However, something I found particularly interesting is that Julio César was a trained professional looking for work in the hospitality industry. Because he didn’t have an approved permanent residency—only a document extending his application—he was denied a job at a luxury hotel. The response he received was: “Not until your documents are up to date. You know how things are in Chile.” This shows how Julio César’s entire life ended up being judged by a single piece of paper. Chaotic.

In the suitcases of many migrants there are dreams, hope, and a desire to support their families. Tiluca sees this reality when she witnesses Julio César crying and telling his mother in Venezuela that he is exhausted—working in a field he loves, dealing with overwhelming hotel guests, surviving after being run over, not being hired, continuing to work as a delivery driver, and sleeping in a house with thirty other people.

Every human being carries a story. For Venezuelans, migrating is an act of salvation—an escape from chaos and oppression. The rule in Venezuela is to remain silent, be imprisoned, or be subdued by barbarity. These details appear throughout the series. It also portrays rejection, xenophobia, insecurity, and Chilean society’s criticism of crime. Nevertheless, the series delivers a powerful message: all a Colombian, Venezuelan, Ecuadorian, or Haitian wants is to work. To live in peace and pursue their dreams despite overwhelming difficulties.

In the midst of darkness, there are people like Tiluca who will open a hostel to help others and to help herself. Human beings are capable of achieving anything when we work together or support one another. But there will also be people like Tiluca’s daughter, Magdalena, who will do everything in their power to cause harm and will eventually learn, one way or another, that we are all just human.

No obstante, algo que me pareció interesante es que Julio César era profesional y buscaba trabajo en hotelería. Al no tener una residencia definitiva aprobada, solo un documento de ampliación de la solicitud se le negó trabajo en un hotel de lujo. La respuesta fue: hasta que no tenga los documentos al día. Usted sabe cómo están las cosas en Chile. Esto muestra cómo la vida de Julio César pasó a ser valorada por un trozo de papel. Caótico.

En las maletas de muchos migrantes hay sueños, esperanza y ganas de ayudar a sus familiares. Esa realidad la ve Tiluca cuando ve a Julio César llorando y diciéndole a su mamá en Venezuela que estaba cansado porque estaba trabajando lo que le gustaba y en el hotel había mucha gente luego se ser atropellado, no ser contratado, seguir trabajando como delivery y durmiendo en una casa con 30 personas.

Cada ser humano posee una historia. Para los venezolanos, migrar es una salvación, huir del caos y la opresión. La regla en Venezuela es callar, ser apresado o ser oprimido por la barbarie. Esos detalles se muestran en la serie. También dilucida el rechazo, la xenofobia, la inseguridad y la crítica de la sociedad chilena al crimen. No obstante, la serie envía un mensaje impecable; lo único que un colombiano, un venezolano, un ecuatoriano y un haitiano quieren es trabajar. Vivir en tranquilidad y cumplir sus sueños a pesar de la compleja dificultad.

En la oscuridad hay personas como Tiluca que montarán un hostal para ayudar a otros y ayudarse a sí misma. Los seres humanos somos capaces de lograr todo cuando colaboramos o trabajamos en conjunto. Pero también habrán personas como la hija de Tiluca, Magdalena que harán de todo para causar daño y terminarán aprendiendo de un modo u otro que simplemente somos seres humanos.

Images: LA TERCERA 1 IMDB 2. Designs Canva. Content by @neruel. English translation and grammar correction: Chatgpt - DeepL - Languagetool. Disclaimer: This is a personal opinion and does not reflect the facts or official views of the serie.

I don’t do biographies. They’re the most boring genre to ever crawl into cinema. But, when I saw this was a biography of Jeffrey Manchester, I was instantly gripped because it felt like a rumour I half remembered. The guy who robbed McDonald’s from the roof. After watching the film, I looked up the real crime story on Wiki and tbh, the film does try to take on that real-life madness and shape it into a story that’s equal parts wild and frustrating.

From the opening scenes, the film leans into that nostalgic, early 2000s Americana vibe but the tone shifts quickly to something that suggests it isn’t anything like Hollywood’s slick, bulletproof criminal. This is Jeffrey Manchester, a soft-spoken Army vet whose nice guy robber persona makes you roll your eyes. Like, he should have picked a freaking side. If you want to be a thief, be a thief. Don’t hold people hostage, steal from them and still act all polite because when the cops pull up, trust me they're not going to say, “Oh well, he was polite about it, so let's forgive his ass.”

The actor playing Jeffrey mirrors the real man’s weirdly disarming charm so well that at moments you forget you’re watching a criminal. But then he does something baffling and you’re instantly snapped back. Like that absolutely foolish detour to go see his girlfriend, Leigh. Like sir, you just escaped prison. You are hiding inside a Toys “R” Us. The police are very much looking for you. And instead of sprinting into freedom, you’re risking your own life because of romance? If I could go back in time and punch some sense into him through my screen I would have.

But here’s the thing though. The movie really shines in the way it rebuilds the real events, the long nights Jeffrey spent camping out inside the toy store, the unsettling use of baby monitors to spy on employees, the absurd double life he built while hiding in plain sight. It’s surreal, but it’s true surreal, and that makes it land harder. The film doesn’t stretch the truth, although I know some scenes are dramatized for storytelling purposes.

I guess I was up for a rant so I sidetracked a bit from the synopsis so here goes…

A former Army vet turns into a serial roof-entry robber, gets caught, escapes prison, and hides inside a toy store while starting a relationship with a woman who has no idea he’s on the run, until everything unravels.

For me, the best part is how faithfully they connect the story to actual documented facts. You can genuinely feel that this isn’t fictional exaggeration, it’s rooted in interviews, reports, and the bizarre public memory of a man who managed to be both clever and unbelievably reckless.

And yet, I like how the film didn’t try to sanitize him. His niceness isn’t framed as charm but as the delusion it actually is. Because niceness doesn’t erase damage. It doesn’t undo robberies. And it definitely doesn’t make running back to see your girlfriend mid-escape anything less than catastrophically dumb.

In the end, Roofman is one of those films that leaves you entertained but also slightly annoyed, not actually because it’s bad, but because the real story is so absurd you want to reach into the screen and shake the man. It’s good, has its strengths in truth and is surprisingly emotional.

Rating 4/5

Greetings to the @Movies&Tvshows community…

After seeing a slew of tweets praising Paul Thomas Anderson's latest film, I had high expectations. Anderson is another of my favorite filmmakers, having impressed me with Boogie Nights, a masterpiece of its time, as well as There Will Be Blood, a film in which the director brought out what many consider to be Daniel Day-Lewis's finest performance. The filmmaker's previous film, Licorice Pizza, was one of my favorites of the year it was released.

Now I find myself in a dilemma, because One Battle After Another has the director's style and undeniable technical quality, and even made me laugh on several occasions, but at the same time there are many things that don't add up for me. And all for one big reason, which is what makes me feel a little angry and disappointed with the director.

To give an example, Eddintong is another film from this year with political content, but where Ari Aster gets it right, Anderson fails. In Eddintong, no one is spared, all sides are attacked, the director of that film threw darts at everyone. Anderson, on the other hand, in One Battle After Another, sides with the left and turns this film into vile political propaganda for fucking progressives.

There's no denying that it has powerful images. The character Perfidia Beverly Hills, pregnant, firing a machine gun. A very good image, very cinematic, one of those that are cool and look great. Damn, a revolutionary and violent black woman. In a Black Exploitation B movie, the image would also look great. The same image is repeated, but this time with the character Willa Ferguson, as a teenager and with better command of the weapon than an Islamic terrorist. That character is played by Chase Infiniti, who is gorgeous and they insist on highlighting her with framing and close-ups. The actress is about 25 years old and plays a 16-year-old teenager. Hollywood stuff.

Después de ver un montón de tuits elogiando la última película de Paul Thomas Anderson, tenía grandes expectativas. Anderson es otro de mis cineastas favoritos, ya que me impresionó con Boogie Nights, una obra maestra de su época, así como con There Will Be Blood, una película en la que el director sacó a relucir lo que muchos consideran la mejor interpretación de Daniel Day-Lewis. La película anterior del cineasta, Licorice Pizza, fue una de mis favoritas del año en que se estrenó.

Ahora me encuentro en un dilema, porque One Battle After Another tiene el estilo del director y una calidad técnica innegable, e incluso me hizo reír en varias ocasiones, pero al mismo tiempo hay muchas cosas que no me cuadran. Y todo por una gran razón, que es la que me hace sentir un poco enfadado y decepcionado con el director.

Por poner un ejemplo, Eddintong es otra película de este año con contenido político, pero donde Ari Aster acierta, Anderson se equivoca. En Eddintong no se salva nadie, se ataca a todas las partes, el director de esa película lanzó dardos a todo el mundo. En cambio, Anderson, en una batalla tras otra, se decanta por el bando izquierdista y convierte esta película en una vil propaganda política para los putos progresistas.

No se puede negar que tiene imágenes poderosas. El personaje Perfidia Beverly Hills, embarazada, disparando una ametralladora. Una imagen muy buena, muy cinematográfica, de esas que molan y quedan genial. Joder, una mujer negra revolucionaria y violenta. En una película de serie B de Blackexploitation, la imagen también se veria genial. Se repite la misma imagen, pero esta vez con el personaje de Willa Ferguson, como adolescente y con mejor dominio del arma que un terrorista islámico. Ese personaje lo interpreta Chase Infiniti, que está guapísima y se empeñan en resaltarlo con encuadres y primeros planos. La actriz tiene unos 25 años e interpreta a una adolescente de 16. Cosas de Hollywood.

I didn't feel empathy for any of the characters. The villain, played by Teyaa Taylor, was quite annoying. Visually, she looks great in the scenes, but her character is unpleasant. The thing is, I find it hard to empathize with revolutionary characters because I've lived through all that red crap myself and I detest all that revolutionary nonsense that has historically failed.

Seeing Leonardo DiCaprio shout “Long live the revolution!” made me feel a little embarrassed for him, although his character is entertaining, but he is often overshadowed by the rest of the cast. Many, especially young people, have praised the character played by Sean Penn, called Steven Lockjaw, who is an extremely exaggerated villain. There's a lot of overacting, especially with the tic in his teeth that the actor added. I enjoyed watching him, yes, but he has given better performances in other films. I understand that the TikTok generation really likes him, for making clips or memes, as has also happened with Benicio del Toro, whose dance scene when he is arrested by the police is considered the best of the year. It's not that big a deal.

I know it's an adaptation of a book by an author whose other novel has already been adapted by the director in the past, but this time Anderson has only been inspired to create another story. I haven't read the book, but from what I've seen, it already had that hippie revolutionary resistance basis. Another thing, in the movie, the villains are racist, almost Nazis, and that's why they're very, very bad. Totally stereotypical. Oh, but the revolutionaries and immigrants are all good and oppressed. The movie is pure progressive propaganda.

Anyway, it's up to you to watch it and tell me what you think in the comments.

No sentí empatía por ninguno de los personajes. La perfidia, interpretada por Teyaa Taylor, me resultó bastante pesada. Visualmente, en las escenas, se ve muy bien, pero su personaje es desagradable. La cuestión es que me cuesta sentir empatía por los personajes revolucionarios, porque yo mismo he vivido toda esa mierda roja y detesto todas esas tonterías revolucionarias que históricamente han fracasado.

Ver a Leonardo DiCaprio gritar «¡Viva la revolución!» me hizo sentir un poco avergonzado por él, aunque su personaje es entretenido, pero a menudo se ve eclipsado por el resto del reparto. Muchos, especialmente los jóvenes, han elogiado al personaje interpretado por Sean Penn, llamado Steven Lockjaw, que es un villano extremadamente exagerado. Hay mucha sobreactuación, especialmente con el tic en los dientes que añadió el actor. Lo disfruté viéndolo, sí, pero ha tenido mejores interpretaciones en otras películas. Entiendo que a la generación TikTok le guste mucho, para hacer clips o memes, como también ha ocurrido con Benicio del Toro, que con su escena de baile cuando lo detiene la policía, está considerada la mejor del año. No es para tanto.

Sé que es una adaptación de un libro de un autor cuya otra novela ya ha adaptado el director en el pasado, pero esta vez Anderson solo se ha inspirado para crear otra historia. No he leído el libro, pero por lo que he visto, ya tenía esa base de resistencia revolucionaria hippie. Otra cosa, en la película, los villanos son racistas , casi nazis, y por eso son muy, muy malos. Totalmente estereotipados. Ah, pero los revolucionarios e inmigrantes son todos buenos y oprimidos. La película es pura propaganda progresista.

En fin, queda a tu criterio verla y me digas qué te parece en los comentarios.