Synopsis: A disturbing event occurs in a small town when all the children in the same school class, except one, "disappear without leaving any conclusive trace. Everything happens on the same night and at exactly the same time, leaving the entire local community at the mercy of what hides this mysterious disappearance.

"The horror movie of the year." - That was the consensus of many critics out there about this movie. I bought into the hype of the idea, and then decided to watch it in the cinema. I can't say I was totally disappointed with what I saw, but I - not by a long shot - agree with the "acclaim" that was made here. This is indeed an unconventional horror movie (and I have no problem whatsoever with this type of approach; quite the contrary, I even quite like it because it goes beyond more trivial aspects within its own concept), but it is also a movie that got lost in its own idea by not being able to bear the weight of the mystery it tried to create by opting for its rather escapist ending.

When a mysterious mass disappearance involving children (all from the same school class) occurs in a small town, everyone is intrigued not only by the tragedy itself (because it directly brought widespread chaos), but also by the fact that only one of the children had not actually disappeared. From there, the script begins to play with the audience's expectations about the mystery behind this event, which happened exactly at 2:17 AM, introducing a good variety of very distinct characters (where each of them has a specific treatment on screen, ensuring that they truly have an "identity").

The narrative structure is very dynamic, and purposefully divided into several chapters so that all the featured characters bring a unique perspective to the events that are inadvertently connected to the most important event in the entire movie: the disappearance of the children. This decision naturally sparks greater interest from the audience, who are drawn into the plot as everything becomes more complex, challenging all logic (which, incidentally, paves the way for an immersive atmosphere of doubt, tension, fear, and suspense), which, when they become more "evident", brings a sense of frustration about what was until then a mystery.

This was a rather shrewd choice (at least in my view, because it introduced challenging elements) to solidify the plot, but it only works precisely well up to its second act. From the third act onwards, everything starts to get too messy, and everything seems out of sync with what had been built up until then. Supernatural horror is strongly present, as is psychological suspense (which, incidentally, is quite interesting), in addition to the frenetic and intriguing mystery (although poorly developed) and the good touches of macabre humor, but none of this is enough to negate the great mess that happens in the climax of the project, which is almost a joke.

The script's effort to create immersive moments is worthy of recognition, because it truly happens during a good portion of the movie (as I mentioned earlier). The character development is one of the plot's high points, highlighting the clear functionality of each character in the complete (albeit very blurred) portrait that this movie presents. This fuels the great puzzle the script attempted to create, but once all the pieces start to fit together, the impact of showing each character's different perspectives becomes quite diluted, because the idea becomes something worn out, tedious, and repetitive in its functional essence.

Also flirting with the idea of mass hysteria (where paranoia gains increasing intensity as the investigations unfold), the script connects the characters through chance encounters that are intricately tied to the children's disappearance (though not entirely). Within this context of hysteria (which finds space to address behavioral issues involving collective stress in difficult situations that fuel distrust), when the script shifts its narrative focus, it loses its impact by entering a more fantastical aspect, which is never properly explained in the ridiculous conclusion of the plot.

There are many inconsistencies within the script, as well as many narrative conventions used to support the entire plot (which is quite fragile, as some arguments are easily refuted by logic or technology). Undoubtedly, this undermines the script's potential, which, despite having an excellent idea, becomes implausible (beyond what can be considered acceptable) because it hasn't better developed its own narrative layers, which in the third act are reduced to a "gloomy hyperbole" where nothing is truly justifiable within the context of the rest of the project. Ironically, this is a creative horror movie... but one that is also frustrating due to some misguided decisions.

Weapons was written and directed by Zach Cregger (a double work where he was 50% successful and 50% in debt... but anyway, I think he's a promising filmmaker in Hollywood) and stars Julia Garner. No performance is impressive (some are even too cheesy), but the technical aspects (like the editing and cinematography, for example) manage to "hide" the lack of more prominent verbalization from the cast. Things get a little worse because there are many loose ends in the script, leaving gaps regarding everything that needed to be clarified. I really expected to see something much grander and meaningful here.

Sinopsis: Un inquietante suceso ocurre en un pequeño pueblo cuando todos los niños de una misma clase, excepto uno, desaparecen sin dejar rastro. Todo sucede la misma noche y a la misma hora, dejando a toda la comunidad local a merced de lo que oculta esta misteriosa desaparición.

"La película de terror del año." - Ese fue el consenso de muchos críticos. Me dejé llevar por la expectación y decidí verla en el cine. No puedo decir que me decepcionara por completo, pero no realmente estoy de acuerdo con la “aclamación” que recibió. Se trata, sin duda, de una película de terror poco convencional (y no tengo ningún problema con este enfoque; al contrario, me gusta bastante porque va más allá de lo trivial dentro de su propio concepto), pero también es una película que se perdió en su propia idea al no poder sostener el peso del misterio que intentaba crear, optando por un final bastante escapista.

Cuando una misteriosa desaparición masiva de niños (todos de la misma clase) ocurre en un pequeño pueblo, la gente se intriga no solo por la tragedia en sí (porque provocó un caos generalizado), sino también por el hecho de que solo uno de los niños no desapareció. A partir de ahí, el guion juega con las expectativas del público sobre el misterio que rodea este suceso, ocurrido exactamente a las 2:17 de la madrugada, presentando una buena variedad de personajes muy distintos (cada uno con un tratamiento específico en pantalla, lo que garantiza que tengan una verdadera “identidade”).

La estructura narrativa es muy dinámica y está dividida deliberadamente en varios capítulos para que cada personaje aporte una perspectiva única a los eventos, los cuales, de forma indirecta, se conectan con el suceso más importante de la película: la desaparición de los niños. Esta decisión, naturalmente, despierta un mayor interés en el público, que se ve inmerso en la trama a medida que todo se vuelve más complejo, desafiando la lógica (lo que, dicho sea de paso, crea una atmósfera envolvente de duda, tensión, miedo y suspense), que, al hacerse más “evidentes”, genera una sensación de frustración ante lo que hasta entonces había sido un misterio.

Esta fue una elección bastante astuta (al menos en mi opinión, porque introdujo elementos desafiantes) para consolidar la trama, pero solo funciona bien hasta el segundo acto. A partir del tercer acto, todo se vuelve demasiado caótico y parece desentonar con lo construido hasta entonces. El terror sobrenatural está muy presente, al igual que el suspense psicológico (que, dicho sea de paso, es bastante interesante), además del misterio frenético e intrigante (aunque mal desarrollado) y los toques de humor macabro, pero nada de esto basta para compensar el gran desastre que se produce en el clímax, que roza lo ridículo.

El esfuerzo del guion por crear momentos inmersivos merece reconocimiento, ya que lo logra durante buena parte de la película (como mencioné antes). El desarrollo de los personajes es uno de los puntos fuertes de la trama, resaltando la clara función de cada uno en el retrato completo (aunque algo borroso) que presenta la película. Esto alimenta el gran rompecabezas que el guion intentó crear, pero una vez que todas las piezas empiezan a encajar, el impacto de mostrar las diferentes perspectivas de cada personaje se diluye bastante, porque la idea se vuelve algo desgastado, tedioso y repetitivo en su esencia funcional.

El guion, que también juega con la idea de la histeria colectiva (donde la paranoia se intensifica a medida que avanzan las investigaciones), conecta a los personajes mediante encuentros fortuitos intrincadamente ligados a la desaparición de los niños (aunque no del todo). Dentro de este contexto de histeria (que encuentra espacio para abordar problemas de comportamiento relacionados con el estrés colectivo en situaciones difíciles que alimentan la desconfianza), cuando el guion cambia su enfoque narrativo, pierde impacto al adentrarse en un aspecto más fantástico, que nunca se explica adecuadamente en el ridículo final de la trama.

Numerosas inconsistencias aparecen en el guión, así como muchos recursos narrativos que intentan sustentar la trama (bastante frágil, pues algunos argumentos se refutan fácilmente con lógica o tecnología). Sin duda, esto merma el potencial del guion, que, a pesar de partir de una excelente idea, se torna inverosímil (más allá de lo aceptable) por no haber desarrollado adecuadamente sus capas narrativas, las cuales, en el tercer acto, se reducen a una “hipérbole sombría” donde nada se justifica dentro del contexto del resto del proyecto. Irónicamente, se trata de una película de terror creativa... pero también frustrante debido a algunas decisiones desacertadas.

La película Weapons fue escrita y dirigida por Zach Cregger (un doble trabajo en el que tuvo un 50% de éxito y un 50% de deudas... pero bueno, creo que es un cineasta prometedor en Hollywood) y protagonizada por Julia Garner. Ninguna actuación es impresionante (algunas incluso resultan demasiado cursis), pero los aspectos técnicos (como el montaje y la fotografía, por ejemplo) logran disimular la falta de dicción del reparto. La cosa se complica un poco porque hay muchos cabos sueltos en el guion, dejando lagunas sobre todo aquello que necesitaba aclararse. La verdad es que esperaba algo mucho más grandioso y significativo.

Sinopse: Um evento perturbador acontece em uma pequena cidade quando todas as crianças da mesma turma escolar, exceto uma, “desaparecem sem deixar vestígios contundentes. Tudo acontece em uma mesma noite e exatamente no mesmo horário, deixando toda comunidade local à mercê do que esconde esse misterioso desaparecimento.

“O filme de horror do ano.” - Esse foi o consenso de muitos críticos por aí sobre este filme. Eu comprei o hype da ideia, e então, decidi assisti-lo no cinema. Não posso dizer que fiquei totalmente decepcionado com o que eu assisti, mas eu - nem de longe - concordo com a “aclamação” que foi feita aqui. Esse é sim um filme de horror não convencional (e eu não tenho problema algum com esse tipo de abordagem; muito pelo contrário, eu até gosto bastante porque corre por fora de aspectos mais triviais dentro do próprio seu conceito), mas também, é um filme que se perdeu na própria ideia por não conseguir aguentar o peso do próprio mistério que tentou criar ao optar por sua finalização bastante escapista.

Quando um misterioso desaparecimento coletivo envolvendo crianças (todas de uma mesma turma escolar) acontece em uma pequena cidade, todos ficam intrigados não apenas com a tragédia em si (porque isso trouxe diretamente um caos generalizado), mas também com o fato de que apenas uma das crianças não havia desaparecido de fato. A partir daí, o roteiro começa a brincar com as expectativas da audiência sobre qual é o mistério por trás desse acontecimento, que aconteceu exatamente às 02:17hs da manhã, inserindo então uma boa variedade de personagens muito distintos (onde cada um deles tem um tratamento específico na tela, garantindo que eles realmente tenham uma “identidade”).

A estrutura narrativa é muito dinâmica, e propositalmente dividida em alguns capítulos para que todos os personagens destacados tragam uma perspectiva única sobre os fatos que, inadvertidamente, estão conectados com o evento mais importante de todo o filme: o desaparecimento das crianças. Essa decisão acaba, naturalmente, despertando um maior interesse por parte do público, que vai sendo fisgado pela trama à medida em que tudo se torna mais complexo, e vai desafiando toda lógica dos fatos (que aliás... pavimenta uma imersiva atmosfera de dúvida, tensão, medo e suspense), que quando se tornam mais “evidentes”, trazem uma sensação de frustração acerca do que até então era um mistério.

Essa foi uma escolha bastante astuta (ao menos no meu ponto de vista, porque trouxe elementos desafiadores) para sedimentar a trama, mas que só funciona precisamente bem até seu segundo. A partir do terceiro ato, tudo começa a ficar bagunçado demais, e tudo parece não estar em parcimônia com relação a tudo o que já havia sido construído até então. O terror sobrenatural está fortemente presente, assim como o suspense com base psicológica (que aliás, é bem interessante), além do mistério frenético e intrigante (embora mal desenvolvido) e os bons toques de humor macabro, mas nada disso é o suficiente para anular a grande bagunça que acontece no clímax do projeto, que é quase uma piada.

O esforço do roteiro para criar momentos imersivos é algo digno de reconhecimento, porque isso realmente acontece durante uma boa parte do filme (como eu já havia mencionado anteriormente). O desenvolvimento dos personagens é um dos pontos altos da trama, que evidenciam a nítida funcionalidade de cada um deles no retrato completo (mesmo muito desfocado) que é este filme. Isso alimenta o grande quebra-cabeças que o roteiro tentou criar, mas quanto todas as peças começam a ser encaixadas, todo aquele esforço em mostrar as diferentes perspectivas de cada um deles tem o impacto bastante diluído, porque a ideia se torna algo desgastado, enfadonho e repetitivo na sua essência funcional.

Flertando também a com ideia de histeria coletiva (onde a paranoia acaba ganhando um espaço cada vez mais intenso à medida em que as investigações vão acontecendo), o roteiro vai conectando os personagens através de situações ao acaso, mas que estão intricadamente amarradas ao desaparecimento das crianças (ainda que não por completo). Ainda dentro dessa histeria (que encontra espaço para lidar com situações comportamentais envolvendo o estresse coletivo em situações difíceis que alimenta a desconfiança), quando o roteiro muda à chave da sua narrativa, ele perde à força por entrar em aspecto mais fantasioso, que acaba nunca sendo devidamente explicado na ridícula conclusão da trama.

Há muitas incoerências dentro do roteiro, assim como também há muitas convenções narrativas para sustentar toda a trama (que é bem frágil, por ter alguns argumentos que são facilmente destruídos por uma razão lógica ou tecnológica). Não há dúvidas que isso mina o potencial do roteiro, que apesar de ter uma excelente ideia, se torna inverossímil (além do que se pode considerar como aceitável) por não ter sedimentado melhor as suas próprias camadas narrativas, que no terceiro ato se resumem a uma “hipérbole tenebrosa” onde nada é realmente justificável com o restante do projeto. Ironicamente, eis aqui um terror criativo... Mas que ao mesmo tempo, é frustrante por algumas decisões equivocadas.

A Hora do Mal foi escrito e dirigido por Zach Cregger (um trabalho duplo onde ele foi 50% bem sucedido e tem 50% na linha de débito... mas de todo modo, eu o acho um cineasta promissor em Hollywood) e traz Julia Garner liderando o elenco. Nenhuma performance é impressionante (algumas são até cafonas demais), mas os aspectos técnicos (como a edição das cenas e a fotografia, por exemplo) conseguem “esconder” a falta de verbalização mais proeminente por parte o que deveria ter sido feito pelo elenco. Tudo fica um pouco pior porque há muitas pontas soltas no roteiro, deixando lacunas abertas acerca de tudo que precisava ter sido esclarecido. Eu realmente esperava ter assistido algo muito mais grandioso e significativo aqui.

Of the films set to be released in the last two months of the year, there are some I'm really looking forward to, like the sequel to Wicked or—the one I'm most eagerly anticipating—Bugonia with Emma Stone and Jesse Plemons, again directed by Yorgos Lanthimos. However, another story that caught my attention and that I had on my list without knowing what it was about, but with a stellar lead duo, was Die My Love by Lynne Ramsay, starring Jennifer Lawrence and Robert Pattinson.

De las películas a estrenarse en los últimos dos meses del año, hay algunas que tengo muchas ganas de ver como la segunda parte de Wicked o - la que espero con más ansias - Bugonia con Emma Stone y Jesse Plemons, dirigidos de nuevo por Yorgos Lanthimos. Sin embargo, otra historia que llamaba mi atención y que tenía en lista sin saber de qué trataba, pero con una dupla protagonista de lujo, era Die My Love de Lynne Ramsay, protagonizada por Jennifer Lawrence y Robert Pattinson.

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Die My Love has a somewhat unusual mix. It's simultaneously a thriller, a drama, a comedy, a rural film, a story about motherhood and mental illness, and an exploration of femininity with a touch of horror. The film opens with Grace and Jackson, a young couple in love, who move from the city to a country house Jackson has inherited. Although the house needs repairs because it's dilapidated, it seems to be a haven of peace and tranquility that will allow them to lead a happy life and may also help with Grace's literary vocation, as she's a writer experiencing a kind of creative block. There, in the countryside, the couple experiences the birth of their first child, an event that represents a turning point in Grace's already rather unique personality and behavior. She's an intense woman. Intense in love, intense in arguments, intense in self-blame, and intense in her thinking. One of her main traits is a high libido, which, while initially fueled by Jackson's desire, eventually seems to be out of her reach, leading Grace to seek pleasure on her own or in the arms of other men. But it's not just a matter of sexual dissatisfaction. Grace's personality hides a great emotional burden which, added to a behavior that defies what is socially accepted, frequently places her - and by extension her partner - in shameful, immoral, dangerous and condemnable situations.

Die My Love tiene una mezcla un poco inusual. Es a la vez thriller, drama, comedia, una película rural, una historia que trata de la maternidad y de las enfermedades mentales y una exploración de la feminidad con un toque de terror. La cinta arranca con Grace y Jackson, una pareja joven y enamorada, que se mudan de la ciudad a una casa de campo que Jackson ha heredado. Aunque hay que hacerle reparaciones a la casa porque se encuentra deteriorada parece ser un remanso de paz y tranquilidad que les permitirá llevar una vida feliz y que además puede ayudar con la vocación literaria de Grace, una escritora que atraviesa una especie de bloqueo creativo. Allí, en el campo, la pareja vive el nacimiento de su primogénito, evento que representa un quiebre en la personalidad y en la conducta de Grace, ya de por sí bastante particular. Grace es una mujer intensa. Intensa para amar, intensa para discutir, intensa para culparse y para pensar. Uno de sus rasgos principales es una libido elevada que, si bien al inicio alimenta con el deseo de Jackson, con el tiempo pareciera ser que su pareja no es capaz de seguirle el ritmo lo que lleva a Grace a buscar el placer por sí misma o en los brazos de cualquier otro hombre. Pero no se trata sólo de un tema de insatisfacción sexual. La personalidad de Grace esconde una gran carga emocional que sumado a un comportamiento que desafía lo socialmente aceptado, con frecuencia la coloca a ella - y por extensión a su pareja y su familia - en situaciones vergonzosas, inmorales, condenables, peligrosas y criticadas por los demás.

And all of this worsens or intensifies after the baby's birth, leading Grace to a breakdown and the collapse of her reality. Many have mentioned that the character suffers from severe postpartum depression, but in some cases, they've neglected to mention an aspect linked to that depression, and caused by it: paranoia. Grace's distrust and constant suspicion of Jackson, his mother, and almost everyone present, including herself, threaten to shatter her already fragile personal relationships.

Y todo eso se agrava o se intensifica tras el nacimiento del bebé lo que lleva a Grace al desmoronamiento y al colapso de su realidad. Muchos han mencionado que el personaje atraviesa una fuerte depresión postparto, pero en algunos casos han olvidado mencionar un aspecto ligado a esa depresión, provocado por ella, que es la paranoia. La desconfianza y esa permanente sospecha de Grace hacia Jackson, hacia la madre de este o hacia casi cualquier persona presente, incluso hacia ella misma, amenazará con quebrar sus relaciones personales, ya bastante agrietadas.

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Lynne Ramsay is a Glasgow-born director with a very distinctive vision, and she has given us great works such as the dramatic We Need to Talk About Kevin, starring Tilda Swinton and Ezra Miller, and the violent You Were Never Really Here, starring Joaquin Phoenix, released eight years ago and Ramsay's last feature film before this new story. She is joined by the talents of Irish writers Enda Walsh (Small Things Like These) and Alice Birch (Normal People, The Wonder) for the screenplay, and Seamus McGarvey (Nocturnal Animals) as director of photography. The film also features production from Martin Scorsese and Jennifer Lawrence herself through her production company, Excellent Cadaver. But the most outstanding aspect is the acting. Lakeith Stanfield, Sissy Spacek, and Nick Nolte play supporting roles in a film where the two leads truly shine. Jennifer Lawrence and Robert Pattinson have long since moved beyond being Katniss Everdeen and Edward Cullen, becoming mature and talented actors who constantly challenge themselves in their projects. Pattinson has demonstrated his acting range with films like Mickey 17, The Lighthouse, and The Batman, and in Die My Love he delivers another excellent dramatic performance. But the true star of this film is Jennifer Lawrence.

Jennifer Lawrence

Lynne Ramsay es una directora nacida en Glasgow con una visión muy particular y nos ha regalado grandes trabajos como la dramática We Need to Talk About Kevin con Tilda Swinton y Ezra Miller o la violenta You Were Never Really Here con Joaquin Phoenix, estrenada hace ocho años y último largometraje de Ramsay antes de esta nueva historia. A ella se suma el talento de los irlandeses Enda Walsh (Small Things Like These) y Alice Birch (Normal People, The Wonder) para escribir el guion y de Seamus McGarvey (Nocturnal Animals) como director de fotografía, además de la producción de Martin Scorsese y de la propia Jennifer Lawrence a través de su productora Excellent Cadaver. Pero lo más destacado son las actuaciones. Lakeith Stanfield, Sissy Spacek y Nick Nolte interpretan papeles secundarios en una película en donde los dos protagonistas brillan. Hace mucho tiempo que Jennifer Lawrence y Robert Pattinson dejaron de ser Katniss Everdeen y Edward Cullen para convertirse en actores maduros y talentosos que se desafían constantemente en sus proyectos. Pattinson ha demostrado su rango actoral con films como Mickey 17, The Lightouse o The Batman y en Die My Love entrega nuevamente una excelente actuación dramática. Pero la gran estrella de esta película es Jennifer Lawrence.

Grace is a chaotic, impulsive character who teeters on the brink of madness, oscillating between inaction and violence. There are scenes of nudity, self-satisfaction, outbursts of rage and jealousy, but above all, there is erratic behavior. Grace is not a normal person, and on many occasions, she does things no one expects; she is an unpredictable, chaotic, sensitive, unstable, and also frustrating character... and Jennifer Lawrence is convincing throughout, even in those scenes that make us uncomfortable. The Oscars are still some time away, but I think it's one of the best performances of the year, and I believe that with this role, she could earn her fifth nomination and perhaps her second Oscar.

Grace es un personaje caótico, impulsivo, que transita la locura oscilando entre la inacción y la violencia. Hay escenas de desnudos, de auto satisfacción, explosiones de rabia, de celos, pero sobre todo hay un comportamiento errático. Grace no es una persona normal y en muchas ocasiones hace cosas que nadie espera; es un personaje impredecible, caótico, sensible, inestable, frustrante también... y Jennifer Lawrence resulta convincente en todo momento, incluso en esas escenas que se nos hacen incómodas. Aún falta algo de tiempo para los premios Oscar, pero creo que es una de las mejores actuaciones del año y pienso que con este papel podría obtener su quinta nominación y tal vez su segundo Oscar.

The Book | El libro

One of the things that surprised me was learning that the film is based on the novel Matate, amor (Kill Yourself, Love) by the Argentinian Ariana Harwicz, who confessed to having written the novel "with a desire for revenge [...] if it is not allowed to shoot, set fire to stables or kidnap neighbors, at least it is another way of taking justice into one's own hands" and that primitive, visceral and violent aspect is felt both in the book and in the film. It's a powerful read, especially considering it's Harwicz's first novel, written without any sense of being a writer or pursuing any aesthetic or literary goals. Now, having read the book, I want to rewatch Die My Love, though I'm not sure whether to see it in theaters again or wait for it to stream on MUBI. Finally, I'd like to recommend Elizabeth Sankey's documentary Witches and Catherine Cho's book Inferno: A Memoir of Motherhood and Madness, as both explore the themes of psychosis and motherhood. In that state of reality breakdown, Cho began to have dark and self-destructive thoughts, but she also heard voices telling her to hurt her baby, similar to what happened to Elizabeth Sankey and some of the episodes Grace experiences in Die My Love. It's very easy to judge a woman and simply say, "She's a bad mother" (as a French provincial judge told Ariana Harwicz when her book was taken to court) or pronounce, "She's crazy," without trying to understand the reality of what's happening, and I think these films shed light on those kinds of situations. Have you seen Die My Love? What do you think about it? Let me know in the comments.

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Una de las cosas que me sorprendió fue enterarme de que la película está basada en la novela Matate Amor de la argentina Ariana Harwicz quien confesó haber escrito la novela "con ánimo de venganza [...] si no está permitido disparar, incendiar establos o secuestrar vecinos, al menos es otro modo de hacer justicia por mano propia" y ese aspecto primitivo, visceral y violento se siente tanto en el libro como en la película. Es una lectura que impresiona por su potencia y por el hecho de que es la primera novela de Harwicz quien la escribió sin sentirse escritora, sin perseguir ningún fin estético ni literario. Ahora, después de haber leído el libro quiero volver a ver Die My Love, no sé si en el cine otra vez o si esperar que llegue a MUBI en streaming. Finalmente quisiera recomendarles el documental Witches de Elizabeth Sankey y el libro de Catherine Cho Inferno: A Memoir of Motherhood and Madness, ya que ambos tratan el tema de la psicosis y la maternidad. En ese estado de quiebre de realidad, Cho llegó a tener pensamientos oscuros y autodestructivos, pero también escuchó voces que le pedían lastimar a su bebé, similar a lo que le ocurrió a Elizabeth Sankey y a algunos de los episodios que sufre Grace en Die My Love. Es muy fácil juzgar a una mujer y decir simplemente "es una mala madre" (como le dijo un juez de provincia francés a Ariana Harwicz cuando su libro fue llevado a juicio) o sentenciar "está loca" sin intentar comprender la realidad de lo que está sucediendo y creo que estas películas arrojan luz sobre ese tipo de situaciones, ¿ya vieron Die My Love? Los leo en los comentarios.

Other posts that may interest you | Otros posts que pueden interesarte:

Almost Famous (2000): every fan's dream |

3 x 1: favorite argentinian movies |

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Movies based on true stories always have something special and manage to show a truth that often goes beyond what we see on screen, since being based on real life is something of great value. This was the case with the recently released film The Smashing Machine, one of those stories that combines many aspects of life, such as the strength of sport with the more human side of a fighter who, despite his victories, also faces very tough battles that are not always seen. The film presents the life of Mark Kerr, a renowned figure in the world of MMA at that time, as today there are many legends, showing that behind all that success there was a path full of personal and emotional challenges. It is a film for all ages, especially for sports lovers.

Las películas basadas en historias reales siempre tienen algo especial y logran mostrar una verdad que muchas veces va más allá de lo que vemos en pantalla, puesto que al ser de la vida real es algo de mucho valor. Esto pasó con la película The Smashing Machine, estrenada hace poco, siendo una de esas historias que combina muchos aspectos de la vida como la fuerza del deporte con la parte más humana de un luchador que, a pesar de sus victorias, también enfrenta batallas muy rudas que no siempre se ven. La película nos presenta la vida de Mark Kerr, una figura reconocida en el mundo del MMA, para ese tiempo, ya que hoy en día existen muchas leyendas, la cual presenta que detrás de todo ese éxito tenía un camino lleno de retos personales y emocionales, siendo una película para todas las edades, en especial para los amantes del deporte.

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From the very first minute, the film immerses us in the world of this sport, which, being so strict and dangerous, not everyone practices. However, beyond punching, training, following a very demanding routine, and competing, it also shows the other side of the coin, which consists of the sacrifices, pressure, and mental exhaustion that many athletes go through. I really like this sport, and everyone has a very different view of it. This film manages to convey the internal struggle that Kerr had with himself, the stress, those moments when he wanted to give up, showing that the real challenge is not always in the ring, but in what happens outside it. He is a fighter with great potential and the desire to continue growing and fighting, which is why actor Dwayne Johnson takes on the role, doing a great job and at the same time being able to do something different, since his roles are always comedy or action.

There are many fight movies, and what's interesting is that each one has its own style and, above all, its own elements. That's why here we see how the relationship with his partner influences everything, showing moments of tension, support, and emotional exhaustion, which is a roller coaster ride for the fighter, because when you love someone, you give everything. Adding a relationship to the film adds a touch to the story, because it shows that success does not always mean stability and that even the strongest athletes can also feel fear. That is why every scene in the film is very well crafted and maintains every detail in a very natural way, without exaggerating anything, allowing each scene to have a purpose and feel authentic and motivational.

Desde el primer minuto la película nos sumergimos en el mundo de ese deporte, que al ser tan estricto y peligroso no todo el mundo lo practica, sin embargo, más allá de dar golpes, entrenar, llevar una rutina muy exigentes y competir, también muestra la otra cara de la moneda que consiste en los sacrificios, la presión y ese desgaste mental que muchos deportistas pasan. A mí me gusta mucho este deporte y cada uno tiene una visión muy distinta y esta entrega logra transmitir esa lucha interna que Kerr tenía consigo mismo, el estrés, esos momentos donde quería abandonar, mostrando que el verdadero reto no siempre está en el ring, sino en lo que ocurre fuera. Un peleador que tiene un buen potencial y las ganas de seguir creciendo y luchando, por eso el actor Dwayne Johnson es quien toma el papel, haciendo un gran trabajo y a la vez poder hacer algo distinto, ya que siempre sus papeles son de humor o acción.

Existen muchas películas de pelea y lo interesante es que cada una tiene su estilo y sobre todo los elementos que tienen a su lado, por eso aquí vemos cómo la relación con su pareja influye en todo, mostrando momentos de tensión, apoyo y desgaste emocional, siendo esa montaña rusa para dicho peleador, ya que cuando uno quiere a alguien dará todo. Agregar una relación en la película le da un toque a la historia, porque demuestra que el éxito no siempre significa estabilidad y que incluso los atletas más fuertes también pueden sentir miedo. Por eso cada escena de la película está muy bien trabajada y manteniendo cada detalle de una manera muy natural, sin exagerar nada, permitiendo que cada escena tenga un propósito y se sienta auténtica y de motivación.

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Another thing I liked was the pace of the whole film, starting from the bottom and working their way up to glory, highlighting every training session and every fight until they gave their last drop of sweat, as well as showing their sporting and personal lives, keeping the viewer engaged and connected with everything they are going through. It's a film that shows both glory and downfalls, reminding us that everyone has a side that is rarely shown, that it's normal to fall, and that it's all about how you deal with life's situations.

The Smashing Machine is a very good film. It maintains that real essence and fulfills its objective of showing a true, emotional story with a clear message for all ages. It doesn't matter if you're a fan of MMA or not, because what really grabs you is the harsh reality that athletes have to go through in order to succeed. That's why it's always important to be able to stay in control so you can stand firm when life gets tough, and in the end, it reminds us that everyone, even the strongest, can lose. It's a film that's worth watching and leaves you with a lot to think about.

Otra de las cosas que me gusto, ese es ritmo que tiene toda la película, al comenzar desde abajo hasta llegar a la gloria, destacando cada entrenamiento y cada pelea hasta dejar la última gota de sudor, al igual mostrar la vida deportiva y la vida personal, logrando que el espectador se mantenga atento y conecte con todo lo que va viviendo. Es una película que deja ver tanto la gloria como las caídas, recordándonos que cada persona tiene un lado que casi nunca se muestra, que es normal caerse y todo esta en la manera como enfrentes las situaciones de la vida.

The Smashing Machine es una película muy buena, mantiene esa esencia real y cumple con el objetivo de mostrar una historia real, emocional y con un mensaje claro para toda las edades, además no importa si eres fan del MMA o no, porque lo que realmente atrapa es la ruda realidad que tienen que pasar los deportistas para poder triunfar. Por eso siempre es importante poder llevar un buen control para así poder mantenerse firme cuando la vida se vuelve pesada, y que al final nos recuerda que todos, incluso los más fuertes, pueden llegar a perder. Una entrega que vale la pena ver y que deja mucho para reflexionar.

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From the jump, this film feels polished but after watching it, I had mixed feelings so I looked it up and noticed it’s a remake of a 1992 film with the same title but some inferred that this one is a complete wash down of the original. I haven’t seen the 1992 film yet but I can guess the 2025 remake is a polished version of it considering the time difference, the spotless suburban setting, and eerily soft lighting. Another thing is that there’s this constant undercurrent of “something is very wrong” glorified by the soundtrack anyway. But I tell ya, even with all the style, I found myself more angry than scared through its runtime.

One thing that gets me appalled is that the husband-never-believes-the-wife trope is always alive and kicking in horror films. Caitlyn (Mary Elizabeth Winstead) tells Miguel (Raúl Castillo) she thinks their nanny, Polly (Maika Monroe), is dangerous but he just writes it off. He’s like, “She’s overthinking” or “Maybe you need to rest,” until things go full-on chaotic. Every time I see that play out, I lose my freaking mind. Why does it always have to take a crisis before the husband listens? Like am I supposed to believe that’s just how it works in real life? I know some people can be a real pain in the ssa but come on. Sometimes, a woman doesn’t want her worries dismissed. She wants you to believe her, like right away.

Second, the movie leaves way too much on the table. Caitlyn (whose real name in the film turns out to be Jennifer) and Polly (whose real name is Rebecca) have this messy, horrifying shared past, but the film only teases part of it. Toward the ending, Caitlyn mentions that Polly’s father did bad things to her, she also mentions that Polly was also his victim and I was so curious about what exactly happened. Like, was it abuse? Was it something even more twisted? The movie hints at it, but doesn’t fully spell it out, and that had me frustrated. Maybe I should really see that original because if one is to ever remake a thriller, they should know better to not skim the surface. It’s only wise to go deep.

That said, performance wise, Winstead is solid. She brings this real vulnerability, the kind of worn-down mom who’s trying to balance a successful career and a family, and then suddenly has to deal with someone dangerous in her home. You actually feel her fear.

Polly/Rebecca on the other hand is played with tension by Monroe. She’s quiet, unsettling, and you can sense her anger and darkness simmering just below the surface. Her calmness actually makes her threat so creepy.

I also love the modern themes as it leans into class tension, emotional manipulation, and power. There’s also some nod to mental health where Polly messes with Caitlyn’s medication, destabilizing her, which reflects modern fears about trust, home and what it means to truly know someone.

I will give it to the director, Michelle Garza Cervera, for successfully creating a lovely atmosphere which helps build the suspense slowly. But, and this is a very big BUT, the tension is uneven. Once things start unraveling, some threats feel muted, and others feel exaggerated. There are moments where I suppose they expect the audience to be terrified but I am the audience and I’d say it was more like a prestige drama than a full-blown psychological nightmare.

So yeah, I enjoyed parts. But I also spent a lot of the movie rolling my eyes at how things played out. For a story that’s supposed to be about sinister betrayal and emotional manipulation, it sometimes feels like it’s tiptoeing around its own darkness.

Rating: 5.8 / 10

It’s not a total disaster, but it’s far from the chilling, deeply unsettling thriller it tries to be.

Do you believe in ghosts? Well, I think I already shared here before that I do believe in them, yet not exactly the mainstream ideas of them as wandering spirits. I don’t think spirits can linger in the realm of the living after death for too long, but I do think some of their emotions and memories stay. Those memories and emotions attract energy; that’s why there are some people who can perceive the remnants of their beings. Anyway, there are a lot of beliefs and speculations about what truly a ghost is; that’s why for today I’m going to share about a movie that has ghosts in it. However, this movie wasn’t your usual movie about ghosts scaring people. It wouldn’t even appeal to me like that if not for its ending part, which kinda felt like that but technically wasn’t one as well. So without further ado, join me for a while as I share with you a peek of its story and my review of this 2001 psychological horror, The Others.

About the Movie

The Others is a psychological horror movie that was first released way back on August 10, 2001. This one-hour and forty-four-minute movie was directed and written by Alejandro Amenábar and it starred Nicole Kidman, Alakina Mann, and James Bentley. So this movie follows the story of a family living in a secluded family estate. The help they hired mysteriously vanished, so Grace—the mother—decided to find another set of helping hands again. However, strangely enough, a group of strangers knock on their door, and they tell Grace they are replying to her request for domestic help. Yet it wasn’t long before she discovered they lied, and also it wasn’t long before the strange events started to happen.

It started with subtle changes, but later on it became more apparent that there were other unseen and unwanted people with them. Her daughter seemed to see them, however, she insist that they aren’t ghosts. Terrified and angry, Grace sets on searching every corner of their house to find those people, but to no avail, she didn’t find them. Slowly, their once quiet quarters were festered with malevolence and uncertainty. Things become messier when Grace learns, much to her dismay, that the help she hired are more than they appear to be and that her own world is not what she thinks it is, for under those foggy trails lies the truth that even she would find hard to stomach.

This movie was probably the quietest horror movie I’ve ever watched; like, for most of the time I’m watching it, I’m anticipating something to come out for the scare. It made me pretty tense because the silence and the uncertainty of not seeing the thing that’s haunting them, the same as the characters do, terrifies me also. I didn’t expect that even mere silence can have this chilling effect on me. The way they build up the atmosphere was brilliant, like it’s there to make you think about what’s really happening in that house. Their whole set reeks of gothic horror—from the old and creepy house and the darkened rooms to the weird book of the dead—those things did really emanate vibes that would tell you it’s definitely a horror movie. Aside from its lack of noisy jump scares, it’s also noticeable that it didn’t have gore or any bloody scenes in it, which is definitely a deviation from the usual horror movies.

As for its story, the end totally blew me up. Honestly, I think the first hour of it was kinda slow for me, like everything was just being laid down and it was uncertain what’s really happening to them. This movie is totally not for those watchers who are looking for adrenaline-pumping horror, for it’s more like intense suspense. The tension was definitely there, and even though, like I said, it doesn’t have gore in it, still it was able to set me on the edge of my seat. The stillness of the story really was unsettling, and everything about it just felt foreboding. Yeah, it was quite slow, but its story was well-paced. I like those subtle foreshadowing because they definitely made sense later on. I thought they were just trivial details, but it turns out they’re part of a bigger picture.

And for the actors and actresses, I was blown away at how well they portray their characters. Since it doesn’t have any action scenes here, the focus was really on how adept they are in portraying their character’s emotions and sentiment are. I especially love how Nicole Kidman portrays her role as a strict and aloof Grace, who—despite her hard facade—was truly a loving mother. She may not be that showy about it, but she did love her children to death. Her performance in portraying that role was one of the reasons why I finished this movie because the way she just showed the terror and anger just hooked me. That scene with her and a gun in particular, I really did feel the desperation and anger in that moment. Further, the maids also did a fantastic job of being really mysterious and, at the same time, knowledgeable. Even in their first appearance, I know, they knew a lot of things about that house, and seeing the hints they dropped somehow led me to conclusions that somehow scratched the surface of what really happened at the end.

Almost all of the aspects of this movie were spooky except the banter of the two children. I find them funny and relatable because I have siblings, and we often do that. Alakina Mann and James Bentley did well in playing the classic sibling complex. Part of the moments I enjoyed were the ones they portrayed, and it’s amazing that despite that they were young at that time, they were able to act well in those moments with much innocence and also a tinge of naughtiness. So that’s it...I think I’ve shared enough for today and yeah, the whole thing was definitely an interesting diversion from the usual horror movies I’ve seen. There are no spooky special effects, bloody scenes, or usual horror stuff whatsoever—instead, it relied more on the silence and story for it to create a tense vibe that’s so gripping and compelling. That’s why if you wanted to try an unconventional horror movie with a nice plot and cinematography, then you ought to try The Others.

And before I end this review, I'll share with you its trailer, so—

Have you encountered this movie before? Or you still haven't tried watching it? Well, if you have something to share, then feel free to comment below. That would be all for now, everyone! I hope you enjoyed reading my review, and I hope to see you around~