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Nohelys Matute
@ikigaidesign (75)
📍 Anzoategui, Venezuela
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Venezolana, Creativa, soñadora, amante del cine, y del arte
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TV · on La venganza de Analía
Review: La Venganza de Analía [ENG/ESP]
🎥 Novel stories, like our reality 🎥

Historias de Novelas, como nuestra realidad

I'm not a fan of romance novels; they stopped appealing to me a long time ago. They always have the same plots: the poor girl who falls in love with the rich guy, the villain who wants to separate them, and so on and so forth. That was until I discovered TV series, which are a little more exciting, with drug lords, mafias, traps, all that intrigue, full of action.

And you may ask, what's different about this one? Well, for me, this novel, which is like a TV series, caught my attention because of its similarity to our reality in terms of corruption, deception, and political intrigue. Does that sound familiar? Keep reading. 👇

No soy fans de las novelas románticas, hace mucho que dejaron de llamarme la atención, siempre las mismas tramas, la chica pobre que se enamora del rico, la villana que quiere separarlos, y así, sucesivamente, hasta que descubrí las teles series, estilo un poco más emocionante, de narcos, mafias, trampas, todo ese enredo, lleno de acción.

Y se preguntarán, y esta ¿qué tiene de diferente?, pues para mí, esta novela estilo serie, me llamo la atención, la semejanza que nuestra realidad, con respecto a la corrupción, la trampa, y los enredos políticos, te suena familiar, sigue leyendo. 👇

La Venganza de Analía (Analía's Revenge) is about a woman named Analía Guerrero who, after discovering details about her past, decides to return to take revenge on the man who hurt her and her mother so badly. Guillermo León Mejía, a corrupt politician who turns out to be her father and a presidential candidate. She decides to deceive him, getting close to him and making him believe that she will help him win the election. It is a struggle between good and evil, power, ambition, and love that cannot be missed.

SPANISH VERSION
La Venganza de Analía, se trata de una mujer Analía Guerrero, que luego de descubrir detalles de su pasado, decidió regresar para vengarse del hombre que tanto daño le hizo, tanto a ella como a su madre; Guillermo León Mejía, un político corrupto, que resulto ser su padre, y candidato a la presidencia, ella decide engañarlo, acercándose a él, haciéndole creer que lo ayudara a ganar las elecciones, es una lucha, entre el bien y el mal, el poder, la ambición, y el amor, que no puede faltar.

This series consists of two seasons, it's from 2020, I discovered it recently, and I started watching it with my mom, since we both like this type of story, with some action, traps, entanglements, murders, and so on; Honestly, this is much more exciting than watching the typical protagonist who lets herself be trampled on and mistreated, the rich girl who turns good, and all those stories that don't make sense and definitely only exist on television.

What's different about Analía? Well, here we see a warrior woman with character, willing to do anything to achieve her goal: to make the man who hurt her so much pay. He's unscrupulous and doesn't care that she's his daughter, but that's not the most appealing part of this plot.

Esta serie consta de dos temporadas, es del 2020, yo la descubrí hace poco, y empecé a verla con mi mamá, ya que a ambas nos gusta este tipo de historias, con algo de acción, trampas, enredos, asesinatos, y así; la verdad esto es mucho más emocionante, que ver a la típica protagonista, que se deja pisotear, y maltratar, la niña rica que se vuelve buena, y todas esas historias que no tienen sentido, y que definitivamente, solo existen en la televisión.

Que tiene de diferente Analía, pues bien, aquí vemos una mujer guerrera, con carácter, dispuesta a todo, con tal de lograr su objetivo, hacerle pagar al hombre que tanto daño le hizo; un inescrupuloso, que no le importo que sea su hija, pero eso no es lo más atractivo de esta trama.

A world full of corruption

As we all know, when it comes to politics, nothing is what it seems, especially when it comes to elections, and even more so presidential elections. Everyone wants power, they want that great throne, to help the people, but the reality is quite different. They only want it to line their pockets, to cheat, to steal, and so many other things, and perhaps deep down, but very deep down, to help.

In this novel series, we will see this and more, as I said, good and evil fighting each other, the good politician who promises to change the world, to do things as they should be done, and, on the other hand, the corrupt politician, with his good-guy face, who everyone believes will bring about change, and they end up supporting him, voting for him. Sounds familiar, right?😒

The voting mafia, as journalists lend themselves to distorting information, the people believe what they want to believe, even if they are shown endless evidence indicating that this is not the case, they continue to fall for tall tales, corruption runs rampant, rigged elections, an unexpected result, or rather, one that was already imagined.

SPANISH VERSION
Un mundo lleno de Corrupción

Como bien sabemos, cuando se habla de política, nada es lo que parece, sobre todo, cuando de elecciones se trata, y más las presidenciales, y es que todos quieren el poder, desean ese gran trono, para ayudar al pueblo, pero la realidad es otra, solo lo quieren para llenarse los bolsillos, hacer trampa, robar, y tantas cosas, y quizás al fondo, pero muy al fondo, ayudar.

Justo en esta serie novela, veremos esto y más, como dije, el bien y el mal, luchando, el político bueno que promete cambiar al mundo, hacer las cosas como deben de ser, y, por otro lado, el corrupto, con su cara de hombre bueno, ese es que todos creen que si les dará el cambio, y terminan apoyándolo, votando por él, les suena familiar, verdad.😒

La mafia de las votaciones, como los periodistas se prestan y tergiversa la información, el pueblo cree lo que quiere creer, así les muestren infinidad de pruebas, que indican que ese no es, de igual manera, siguen cayendo, creyendo cuentos de camino, la corrupción hace de las suyas, unas elecciones preparadas, un resultado inesperado, o mejor dicho, ya imaginado.

In Conclusion

In conclusion, it's a different story, but one that resembles our reality, what we are experiencing, waiting for that change. Maybe it will come, but the question is, when?

This novel, style, series, has hooked me. I'm not saying it's the best compared to others, it has its romantic, annoying parts, ha ha ha, but even so, it's entertaining. If you haven't seen it, give it a chance.

Thanks for reading, see you next time.😄

En conclusión, una historia diferente, que a su vez, se asemeja a nuestra realidad, a lo que vivimos, esperando ese cambio, quizás si llegue, la pregunta es ¿cuándo?.

Esta novela, estilo, serie, me ha enganchado, no digo que sea la mejor, comparada con otras, tiene su parte romántica, fastidiosa, jajaja, aun así, se deja entretener, si no la han visto, puede darle una oportunidad.

Gracias por leerme, nos vemos en la próxima.😄
_{Imágenes obtenidas de filmaffinity / Images obtained from filmaffinity
Edición Banner y Portada con CANVA/ Banner and Cover Edition with CANVA}
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Drax
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Blogger, film critic, columnist (writes in Croatian and English)
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Movie · on Senso '45
Film Review: Senso '45 (Black Angel, 2002)

The 1954 period melodrama Senso, directed by Luchino Visconti, represented one of the more spectacular and visually impressive works of mid-20th century Italian cinema, yet it was bound by serious limitations. Its literary source—Camillo Boito's novella—could not be adapted for screen more faithfully due to the strict censorship standards of 1950s Italy, which prohibited explicit depictions of sexual frustration and decadence. Roughly half a century later, Tinto Brass, working without such constraints, decided to remake Senso with unflinching explicitness. The result was the 2002 erotic drama Senso '45, also known in English-language distribution as Black Angel. Unlike Visconti's relatively restrained approach, Brass's adaptation delivers precisely what the original could not—a raw, unfiltered exploration of erotic obsession against the backdrop of political collapse, making it a fascinating case study in how historical context shapes cinematic interpretation.

Where Visconti's work faithfully set the plot during the Third Italian War of Independence in 1866, Brass transposes the narrative nearly a century forward to the final, desperate months of World War II. Set in spring 1945—less than two years after Mussolini's fall and the Allied landings—Italy is a fractured nation. Northern regions, including Venice where most of the plot unfolds, remain under Nazi German occupation, governed by the remnants of Fascism through the puppet regime of the Italian Social Republic (RSI). The protagonist and narrator, Livia Mazzano (played by Anna Galienna), is the wife of Carlo Mazzoni (Carlo Salines), a high-ranking official within the RSI Ministry of Popular Culture (Minculpop). Unlike his politically compromised husband—who has already established contacts with the Resistance and prepared substantial cash reserves for any postwar scenario—Livia remains emotionally detached from the political turmoil engulfing her nation.

This detachment proves crucial when, during a theatre performance, Livia witnesses its dramatic interruption by armed anti-Fascist militants. More significantly, she observes how Lieutenant Helmut Schultz (Gabriel Garko), a young and striking SS officer, effortlessly dismisses the incident with cool authority. Livia, whose marriage to the decades-older Carlo lacks passion or genuine affection, becomes immediately infatuated. Helmut, recognising her vulnerability, initiates a torrid affair that quickly escalates into a world of decadent pleasures. As political violence intensifies between Fascists and the Resistance, Helmut—whose own lifestyle involves reckless gambling—grows increasingly desperate to escape. He pleads with Livia for money to bribe his way out of the SS and fund his flight from Italy. Livia obliges, only to later discover Helmut has been simultaneously involved with Ninetta (Loredanna Cannata), a much younger woman. Feeling betrayed on multiple levels, Livia enacts her own brutal retaliation through betrayal of her own.

Tinto Brass had already established himself as one of Italy's most prominent erotic filmmakers by the 1970s, exploiting the decade's permissive atmosphere with controversial works like Salon Kitty and Caligula, the latter branded by many as pornographic. Throughout his career, Brass continued making films in a similar vein, and Senso '45 unsurprisingly embraces explicit erotica with abandon—particularly when compared to the prudish constraints of contemporary Hollywood. In this film, Brass seizes every opportunity to present female nudity in its most complete form, with women baring not merely breasts but their most intimate anatomy. One particularly striking sequence features Livia and Helmut visiting a Jewish antiquarian (Agostino Nani Mocenigo) who displays explicitly pornographic images. This precedes an extended brothel orgy scene that appears to feature unsimulated fellatios—a bold choice even by early 21st-century European arthouse standards. Brass clearly exploits the trend established by films like Patrice Chéreau's Intimacy (2001), where such explicit content was increasingly framed as justifiable artistic expression rather than mere exploitation.

Yet despite its graphic content, Senso '45 never feels gratuitously exploitative—a testament to Brass's considerable directorial skill and refined sense of visual style. Many shots are perfectly composed, demonstrating an artist who understands how to frame the human body within historical context. More importantly, Brass provides intellectual justification for the explicit sexuality through a hypothesis popular among European filmmakers of the 1970s: the connection between sexual perversion and fascism. Just as Livia is seduced into a world of unconventional sex by having her base animalistic instincts fulfilled, entire nations were drawn to fascism through similar appeals to primal instincts. Gabriel Garko, with his perfect Aryan features and cool black SS uniform, embodies this dangerous allure, making Livia's surrender to his raw machistic power tragically inevitable.

If Senso '45 possesses flaws, they lie primarily in its occasionally glacial pacing and Brass's occasional indulgence in overly elaborate stylistic experiments. The narrative unfolds through colour flashbacks framed by black-and-white sequences depicting Livia being driven back to Venice by her attorney Ugo Occiano (Franco Branciaroli) for her fateful encounter with Helmut. While cinematographers Massimo Di Venanzo and Daniele Nannuzzi deliver "sensational" visual work through this technique, it sometimes disrupts narrative flow and creates unnecessary distance between viewer and protagonist.

The acting throughout is superb, with Anna Galienna delivering a performance that stands as a worthy counterpart to Alida Valli's portrayal in Visconti's 1954 version. Galienna's expressive eyes, voice, and gestures consistently outshine Gabriel Garko, who proves somewhat unconvincing as a member of the feared SS. Her performance manages to transcend the frequent nude scenes, ensuring the audience remains engaged with Livia as a complex character rather than merely an erotic object—a significant achievement given the film's explicit nature.

An aspect likely lost on general audiences but fascinating for film historians is Brass's homage to 20th-century Italian cinema. This includes obscure references to Fascist-era studio Scalera Film, which relocated from Rome to RSI-controlled Venice during WWII and established "Cinevillagio" as the northern counterpart to Rome's Cinecittà. These historical details surface in scenes where Carlo Mazzoni observes films being produced, adding subtle layers of meta-cinematic commentary.

More immediately recognisable is Brass's nod to Roberto Rossellini's 1945 classic Rome, Open City. In a scene mirroring Rossellini's famous sequence, Fascists machine-gun a woman during a Venice street raid. However, Brass adds his distinctive twist—the falling woman's legs splay open, granting the camera explicit access to her genitals. While some may view this as questionable or in poor taste, it exemplifies Brass's unapologetic approach to merging political history with erotic spectacle.

The film's soundtrack, composed by the legendary Ennio Morricone, represents perhaps its most significant disappointment. While Morricone's collaborations with directors like Sergio Leone, Bernardo Bertolucci, and Pier Paolo Pasolini produced some of cinema's most memorable scores, his work for Senso '45 falls far short of his great works. Unlike his iconic spaghetti western themes or the haunting melodies of Cinema Paradiso, Morricone's contribution here lacks distinctive character and fails to elevate the film. Given Morricone's hyper-productive career—composing for over 400 film and television productions—the soundtrack feels disappointingly generic, actually making the film seem cheaper than it actually is.

Senso '45 ultimately succeeds as a provocative historical revision that confronts what Visconti's 1954 version could only imply. By transporting Boito's narrative to the final days of Italian Fascism and embracing explicit sexuality without apology, Brass creates a film that functions simultaneously as erotic spectacle, political commentary, and cinematic homage. While its pacing occasionally falters and Morricone's score disappoints, the film's intellectual framework—linking sexual decadence with political collapse—prevents it from descending into mere exploitation. Anna Galienna's compelling performance anchors the narrative, ensuring Livia remains a tragic figure rather than merely an erotic object.

Unlike Visconti's adaptation, which romanticized Livia's affair, Brass presents it as a clinical study of vanity and lust—a more faithful interpretation of Boito's original novella's cynical worldview. In doing so, Senso '45 transcends its erotic trappings to offer a disturbing reflection on how personal and political betrayals intertwine during historical collapse. The film's greatest achievement lies in making us understand why Livia would risk everything for a destructive relationship—because in times of societal breakdown, base instincts often override rational calculation, whether in bedrooms or ballot boxes. For all its explicit content, Senso '45 remains a profoundly political film, reminding us that fascism doesn't emerge from abstract ideology alone, but from the same human vulnerabilities that drive our most intimate desires.

RATING: 6/10 (++)

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Movie · on Godzilla
'Godzilla' 1954 Review: A nuclear metaphor

I don't think I had ever actually seen the original Godzilla title before. Having seen the more modern Japanese and unfortunately western releases. I knew that the creation of Godzilla as a monster was something of a metaphor that came shortly after the aftermath of the United States dropping two nuclear bombs on civilians in two different cities during the Second World War. The monster being a reference to the nuclear bomb itself and the film being a coping method of the trauma it caused on so many. These days these two cities have since regrown far beyond major recognisable destruction from these two nuclear bombs, and the character of Godzilla is more a fun Kaiju that everyone loves, with the film also contributing to the creation of a giant monster genre in the process. It's interesting to see the development of a character and the birth of a new genre from a film that was otherwise deeply emotion and symbolic, completely changing it into something more cartoonish and enjoyable, somewhat steering from its original concept.

The newer Japanese titles still mange to use the monster as a coping method. Referencing different aspects of disaster and turning it into a giant lizard monster from the depths of the ocean. More recent titles referred to the 2011 earthquake that caused mass destruction through the tsunami that swept away towns and people. Another newer film made connection to the more recent event in which a nuclear power station suffered a leak which led to towns having to be abandoned, uninhabitable while also suffering great damage to the nearby ecosystem. Both wildlife from the water and land completely changed from the radiation spillage. The common theme of Godzilla is hardships faced. Often films about the people more than the monster itself. Showing the perspectives of these events from the eyes of mostly everyday people. Ground-up perspectives that look up into the sky at something far greater than them, something that they have little power of. Though the common theme in the end tends to be human perseverance in the face of challenge.

1954's Godzilla begins this theme. Starting with the sudden arrival of a strong force in the sea. It ends up causing great havoc to nearby settlements. Though we directly don't see the monster, more the people that were impacted by its path that caused great destruction to homes, farms, and people. Reports state that what it was was in fact alive, though few believe it. All evidence gathered shows that something had left radiation in its wake; footprints and destruction of buildings proves something out of the ordinary is taking place. This is where the first mention of radiation is mentioned in the film, connecting the damage of radiation to the environmental and emotional impact on people in the area. And soon after the roars of Godzilla are heard, and the first sighting of the monster is seen. The radioactive bomb of the ocean. It's interesting how the film came to make such decisions with displaying the monster, how it came to addressing the nuclear strikes and turning their fears and trauma into something mixed with fiction. And despite the very real themes, much of this film centres around the fictional aspects.

There's a very militarised aspect of the film that I think is also quite interesting. The way in which the Japanese attempt to deal with the problem, how they also bomb the ocean in return. That usual ignorance regarding war in how fighting the force head-on can only cause more destruction and suffering in the process. This I guess is more focused on the actions of the Second World War. The attempts to fight with strength without really understanding the repercussions. More a reference to humanity's general ignorance rather than specific self-reflection. These militarised moments are also served up with some contrasting scenes on how everyday people live. There's the military and government action, and the impact it holds on the civilians. Those with nothing to do with the acts now faced with a harsh reality as the attacks return to their own homeland. A very real portrayal of the difference types of outcomes that war has on a population. And even then, a nation in disarray will continue to prioritise its economy to function.

The film feels like it's full of little layers looking into the struggles the nation of Japan faced. The ignorance of its government. The innocence of its population that suffered in wartime, and also the ways that the nuclear strikes introduced a totally new type of fear into the people. The film showing the difference ways in which a nation would react to such a threat. And while there are many disaster films, many war films, many that portray nuclear war, Godzilla's 1954 original release is the realest there is. Coming straight from the only nation to have directly suffered from nuclear strikes. The one and only to truly witness the radioactive monster rise above the towns and bring lasting destruction.
Dan
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Movie · on Chief of War
Chief of War Review - An Attempt at Originality or a Hawaiian-Flavored Cliché? [ENG/SPA]
Lately, Apple TV's productions have really caught my attention. I've finished watching two, with the most recent being Chief of War. While this platform doesn't have the reach of others like Netflix, the quality of its stories has gotten a lot of critical and viewer praise, earning high approval ratings thanks to their authentic narratives and high-quality production.

Reseña de "Chief of War" ¿Un intento de originalidad o un cliché con sabor a Hawái?

Últimamente las producciones de Apple Tv me han llamado bastante la atención, he terminado de ver dos y la más reciente es Chef of War. Aunque esta plataforma no tiene el alcance de otras como Netflix, la calidad de sus historias ha llamado la atención de la crítica y de varios espectadores, logrando una alta aprobación, debido a lo auténtico de sus historias y su alta calidad de producción.

The story is set in 18th-century Hawaii, just before the islands were colonized. At that time, they were divided into four main kingdoms: Hawaiʻi, Maui, Oahu, and Kauaʻi, with the key detail being that they were in a state of constant war. The narrative follows Kaʻiana, played by Jason Momoa, a warrior chief of the Maui kingdom. He's well-known for his strength and great combat skills, with one major attribute: his loyalty to family.

La historia de desarrolla en el siglo XVIII en Hawái, justo antes que las islas sean colonizadas cuando estaba dividida en 4 principales reinos: Hawaiʻi, Maui, Oahu y Kauaʻi, con la particularidad que estaban en constante guerra. La narrativa sigue a Kaʻiana interpretado por Jason Momoa, que es un jefe guerrero del reino de Maui, muy conocido por su fuerza, gran destreza en combate, con un gran atributos: lealtad a su familia.

Kaʻiana has tried to live in exile, tired of the war, but it seems to find him again when his uncle Kahekili (Temuera Morrison), the king of Maui, summons him to lead his army once more. Kahekili is part of a larger conflict on the islands—a prophecy that foretells the arrival of a king who will unify them. He tries to manipulate this belief to bring chaos and rule, which is why he uses Kaʻiana.

Kaʻiana ha intentado vivir en el exilio cansado de la guerra, pero está parece alcanzarlo de nuevo cuando su tío Kahekili (Temuera Morrison) rey de Maui, le convoca para que líderes su ejército nuevamente. Kahekili es parte de un conflicto general que viven las islas, una profecía que predice la llegada de un rey que las unificar, así que intenta manipular está creencia para traer caos y gobernar, por eso usa a Kaʻiana.

However, Kaʻiana refuses and flees with his family to the Hawaiʻi kingdom. He falls into the ocean and is rescued by settlers, embarking on a years-long adventure where he learns their language, trade, and weapons. After this journey, he returns and eventually allies with Kamehameha (Kaina Makua), a chief in Hawaiʻi who preaches peace and reconciliation.

Kaʻiana, sin embargo, se niega y huye con su familia al reino Hawaiʻi pero el cae al océano y es rescatado por colonos, embarcandose en una aventura de años donde aprende su idioma, comercio y uso de sus armas. Tras este viaje regresa y termina aliado con Kamehameha (Kaina Makua), jefe dentro Hawaiʻi que predica la paz y reconciliación.

The series follows this civil war story, full of intrigue and political conflicts, until it reaches its most critical point: the threat of colonization to exploit the islands' sandalwood. It all culminates in a huge battle where traditional combat tactics are combined with Western settlers' weapons. This happens after many dramatic moments, like the coronation of the ambitious King Kayoa and the intervention of Kahumanu (Luciane Buchanan), Kamehameha's wife.

La serie sigue esta historia de guerra civil llena de intrigas y conflictos políticos hasta llegar su punto más álgido, la amenaza de la colonización para explotar el sándalo de las islas, y una gran batalla donde sus tácticas de combate tradicionales se combinan con las armas de los colonos occidentales. Todo esto tras muchos momentos dramáticos como la coronación del rey ambicioso Kayoa y la intervención de Kahumanu (Luciane Buchanan) la esposa de Kamehameha.

As a history buff, I appreciate the show's great efforts to tell the islands' story with a cultural immersion that goes beyond just spears and fighting. You can see Momoa's effort to present a character more connected to his roots, a result of him being a co-creator and writer. Because of this, much of the dialogue is in the Hawaiian language with a mainly Polynesian cast, which makes it more appealing due to its authentic feel.

Cómo fanático de la historia, agradezco los grandes esfuerzos de la serie por contar la historia de las islas con una inmersión cultural más allá de solo lanzas y combate. Se nota el esfuerzo de Momoa por presentar un personaje más conectado con sus raíces, obligado por ser cocreador y guionista. Por esto gran parte del lenguaje hablado es el hawaiano con un reparto principalmente polinesio, garantizando así mayor atractivo por el aspecto genuino que presenta.

I really liked that the set designs are from Hawaii and New Zealand. We get to see the great mountains and volcanoes, the lava fields, and their beautiful beaches. On top of that, the combat is brutal and very realistic. I love that they use Lua, the Hawaiian martial art, which gives the fight scenes a distinctive touch because it's something new you haven't seen in other shows or movies.

Me gustó mucho que la escenografía es hawaiana y de nueva Zelanda, vemos las grandes montañas y volcanes, los campos de lava y sus hermosas playas. A eso le sumas la brutalidad de los combates, con mucho realismo, me encanta que usen el Lua que es el arte marcial hawaiano, lo que le da a las escenas de pelea ese toque distintivo, porque es algo nuevo que no haz visto en otra serie o película.

Not everything about the series is great, though, especially since it has a high bar to clear, coming out after a show like Shōgun, which champions authenticity and a commitment to culture that truly sets it apart. One of the biggest flaws for me was the time jump in the third episode. After living with the Westerners for so long, Momoa's character learns so many things, but we don't know how. You're just expected to assume it, which would have been different if they had dedicated at least one episode to that period. It's also not clear how long he was away—they say it was a year, but it seems longer.

No todo es bueno en la serie, es que tiene la barra muy alta, tras salir luego de series como Shōgun que defiende su autenticidad y un compromiso con la cultura que la distingue. Uno de los grandes fallos para mi fue el salto temporal del 3er episodio, tras vivir tanto tiempo con los occidentales, el personaje de Momoa aprende tantas cosas, pero no se sabe como, asi que debes asumirlo, cosa que hubiera sido diferente si dedicaban por lo menos un episodio a ese espacio de tiempo, cosa que tampoco queda clara porque se menciona que estuvo alejado un año, pero parece más.

Another thing I couldn't ignore, knowing Momoa's acting career, is that he seems to be typecast. The character of Kaʻiana feels a lot like his Khal Drogo from Game of Thrones. He's the same kind of tough guy he always plays. He failed to create a memorable character, even though the real history of Kaʻiana demanded it, so he just played it safe and did what he's used to doing.

Otro aspecto que no pude pasar por alto, conociendo la trayectoria artística de Momoa, es que parece encasillado en un estilo de actuación. El personaje de Kaʻiana se me parece mucho a el de Khal Drogo de Games of Thrones, es el mismo tipo rudo que siempre suele hacer, no fue capaz de crear un personaje memorable, porque la historia real de Kaʻiana lo exigía, así que se fue por lo seguro, lo que está acostumbrado hacer.

I also really disliked the change in tone at the end of the season, specifically in the last few minutes of the final episode. Strangely, the director decided to include all the sex and nudity they could in a single scene, because there was none in the whole series before that. It felt like a Game of Thrones episode and was completely out of place. I had invited my son to watch it with me because it seemed like a wholesome, history-focused show, and then they ruined it at the end with that.

También me desagrado mucho el cambio de tono al final de la temporada, exactamente en los últimos minutos del último capítulo, extrañamente al director le dio por incluir todo el sexo y la desnudez que pudo en una sola escena, porque en toda la serie no lo hubo, esto se sintió como un episodio de Games of Throne, porque estuvo muy fuera de lugar, ya había invitado a mi hijo a verla conmigo porque parecía una serie sana centrada en la historia, para la manchan al final con esto.

But I can say that overall, it's a good and somewhat emotional series. If you're into history and want to learn about how the Hawaiian islands came to be what they are, it's a great experience, worthy of a binge-watch. Plus, the door is open for a continuation. There's definitely more to tell, especially about Western colonization, so we can expect more from Chief of War.

Pero puedo decir que en línea general es buena y un tanto emotiva, si te gusta un poco la historia y conocer como las islas de Hawai llegaron a ser lo que son, es una buena experiencia, digna de ser maratoneada, además, queda la puerta abierta para una continuación, claro que hay más por contar, sobre todo el lado de la colonización occidental, así que podemos esperar más de Chief of War.

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Noemoody
@noemilunastorta (79)
📍 Tuscany, Italy.
4,055 followers
2,607 following
Into mental health, beauty , books, foodie, anime, TV series, k, Thai, j, drama cats and culture
284d
TV · on Castaway Diva
Castaway Diva, from desert island to success! A drama that has it all: love, pain, music, joy, and drama. (ENG/ESP)

Hello blog friends, how are you? I'm feeling pretty bad today, both because I'm on my period and especially because I had some teeth pulled this morning, and anyone who's had a toothache will certainly understand how I feel. However, I took the opportunity to relax and finish a really cute Korean drama, and I decided to review it in this community! I love Korean dramas and watch a lot. This drama has an exceptional lead actress, Park Eun bin, who is brilliant in every role. The plot begins with a young girl, Mok Ha, and her best friend, Ki hO. Both come from families with abusive fathers, and their friendship is born to help and protect each other. However, Mok Ha has a huge dream: to become a singer like her idol, the very famous singer Ran Joo. One day, she has a unique opportunity: Ran Joo's agency is looking for new talent and sends her a video of hers, which she likes so much that they invite her to Seoul. But her father will never give her permission, so she and Ki Ho decide to escape from their abusive and cruel parents. The escape doesn't end well; Ki Ho gives up on fleeing to protect her friend. Mok Ha's father angrily boards the ferry, and in a daring ride, he and his daughter fall into the sea. Everyone leaves them for dead. Ki Ho is desperate, but he can't accept staying with his abusive father. He must save his family anyway, and he can't accept the death of his beloved friend either.

Hola amigos del blog, ¿qué tal? Hoy me siento bastante mal, tanto por la regla como, sobre todo, porque me sacaron unas muelas esta mañana. Cualquiera que haya tenido dolor de muelas entenderá cómo me siento. Sin embargo, aproveché para relajarme y terminar un drama coreano monísimo, ¡y decidí reseñarlo en esta comunidad! Me encantan los dramas coreanos y veo muchos. Este drama tiene una actriz principal excepcional, Park Eun bin, que brilla en todos los papeles. La trama comienza con una joven, Mok Ha, y su mejor amigo, Ki hO. Ambos provienen de familias con padres maltratadores, y su amistad nace para ayudarse y protegerse mutuamente. Sin embargo, Mok Ha tiene un gran sueño: convertirse en cantante como su ídolo, el famosísimo Ran Joo. Un día, se le presenta una oportunidad única: la agencia de Ran Joo busca nuevos talentos y le envía un vídeo suyo, que le gusta tanto que la invitan a Seúl. Pero su padre nunca le dará permiso, así que ella y Ki Ho deciden escapar de sus padres abusivos y crueles. La huida no termina bien; Ki Ho desiste de huir para proteger a su amiga. El padre de Mok Ha, furioso, sube al ferry y, en un viaje arriesgado, él y su hija caen al mar. Todos los dan por muertos. Ki Ho está desesperado, pero no puede aceptar quedarse con su padre abusivo. Debe salvar a su familia de todos modos, y tampoco puede aceptar la muerte de su querida amiga.

And in fact, Mok ha isn't dead; she just ended up on a desert island where she will survive alone, living in hardship and hope for many long years. When she almost gives up hope, she is found by two boys who were going to clean the deserted beaches. A drone notices her, and from there, her life changes. Returning to society after years is not easy at all; the new technology is shocking her, and her two new friends will try to help her. However, she has not given up hope of singing and of meeting Ki Ho again. She'll search for her childhood idol, only to discover that the most famous singer of her time is now virtually unknown. But she won't give up and will help her return to the spotlight. Mok Ha will also be noticed for her talent, and when she reaches fame, she hopes to find Ki-ho, who seems to have disappeared into thin air. But she's not the only one looking for Ki-ho; her abusive father is also looking for him, and to find him, he'll get close to her... It's a very beautiful and well-made drama, in my opinion. It contains various tragedies, but also many joyful and hopeful moments, and it's also a beautiful story of revenge and singing. If you like genres where bad situations lead to good ones, this drama is for you. It will also make you laugh, cry, and be moved, and of course, there's a touch of love here too. I really enjoyed it and recommend it!

Y de hecho, Mok ha no está muerta; solo terminó en una isla desierta donde sobrevivirá sola, viviendo en penurias y esperanza durante muchos años. Cuando casi pierde la esperanza, es encontrada por dos chicos que iban a limpiar las playas desiertas. Un dron la nota, y a partir de ahí, su vida cambia. Regresar a la sociedad después de años no es nada fácil; la nueva tecnología la está impactando, y sus dos nuevos amigos intentarán ayudarla. Sin embargo, no ha perdido la esperanza de cantar y de reencontrarse con Ki Ho. Buscará a su ídolo de la infancia, solo para descubrir que el cantante más famoso de su tiempo ahora es prácticamente desconocido. Pero no se rendirá y la ayudará a volver a la fama. Mok Ha también será reconocida por su talento, y cuando alcance la fama, espera encontrar a Ki-ho, quien parece haber desaparecido en el aire. Pero ella no es la única que busca a Ki-ho; Su padre abusivo también lo busca, y para encontrarlo, se acercará a ella... Es un drama muy hermoso y bien hecho, en mi opinión. Contiene varias tragedias, pero también muchos momentos alegres y esperanzadores, y es también una hermosa historia de venganza y canto. Si te gustan los géneros donde las malas situaciones conducen a las buenas, este drama es para ti. También te hará reír, llorar y conmover, y por supuesto, también tiene un toque de amor. ¡Lo disfruté mucho y lo recomiendo!

First picture edited by my phone translation with deepl.

Pictures source ❤️
Javier Eslava
@javyeslava.photo (75)
📍 Venezuela
612 followers
87 following
Aquí se habla de películas/series, deportes, música y cuando sale la inspiración de fotografía.
284d
TV · on Chief of War
(ESP-ENG) Chief of War | An unseen Hawaii - Serie Review!
**

Hola amigos, buenas vibras para todos.
**

Hello friends, positive vibes to everyone.

Source!

Tenía tiempo que no me sentaba a ver una serie hasta que decidí darle la oportunidad al nuevo de trabajo de Jason Momoa en Apple TV+ en donde se explora parte de la historia de las tierras de donde él nació. Como ya es costumbre sabemos de la calidad tan grande que tienen las producciones de la compañía de la manzana y con esta serie no fue la excepción, son 9 capítulos en donde se nos muestra la rudeza, la cultura y las formas de ver la vida de aquellos polinesios antes de que Hawai se unificara en lo que se conoce hoy en día. Ya les adelanto que la serie es espectacular y que merece ser vista.

It had been a while since I sat down to watch a TV series, but then I decided to give Jason Momoa's new show on Apple TV+ a chance. It explores part of the history of the land where he was born. As we know, Apple's productions are always of high quality, and this series was no exception. The nine episodes showcase the resilience, culture, and way of life of the Polynesian people before Hawaii was unified into what it is today. Let me just say that the series is spectacular and definitely worth watching.

Nos ubicamos a finales del siglo XVIII cuando este estado de USA todavía no estaba adherido al territorio americano, allí vivían los nativos divididos en reinos en donde cada uno tenía a su rey quien gobernaba en pro de su gente. Kaʻiana (Jason Momoa) es un jefe de guerra quien es el que lidera un poco este proceso de unificación bajo el reinado de Kamehameha I y alza la voz en contra de una posible colonización por parte de los "piel pálidas" o extranjeros que poco a poco parecía que se iban acercando a las islas hawaianas. En todo ese proceso veremos una intensa guerra entre algunos de estos reyes que darán frutos a batallas increíblemente violentas y sangrientas.

The story takes place in the late 18th century, when this US state was still part of an independent Hawaiian kingdom. The native people lived in various kingdoms, each ruled by a king who governed for the benefit of his people. Kaʻiana (Jason Momoa) is a powerful war chief who plays a key role in the unification of the islands under the reign of Kamehameha I, and he raises his voice against the potential colonization by the "pale-skinned" foreigners or Europeans who were gradually approaching the Hawaiian islands. Throughout this process, we witness an intense struggle for power among these various kings, resulting in incredibly violent and bloody battles.

Source!

Source!

Además de toda la parte llena de los conflictos bélicos la serie tiene una alta carga de cultura y espiritualidad. Ver como lograron retratar la vida en aquellos tiempos, la idiosincrasia de ese pueblo, en que creían, como rezaban y como entendían el mundo y la vida en sus tierras creo que es de las cosas más cool y que mejor quedaron hechas de esta serie. Personalmente no tenía conocimiento de muchas de las cosas que acá vemos porque sencillamente no hay tantas historias de esta gente contadas en TV o cine, que Momoa haya decidido dar ese paso es un acierto, él funge como productor y protagonista además de ser un nativo de dichas tierras.

Besides all the scenes depicting warfare, the series also has a strong emphasis on culture and spirituality. I think one of the most fascinating and well-executed aspects of the series is how it portrays life during that period—the character of that particular culture, their beliefs, their rituals, and their understanding of the world and life in their homeland. Personally, I wasn't familiar with many of the things we see in the series, as there aren't many stories about these people told on TV or in movies. Momoa's decision to take this project on is a great choice; he serves as both producer and lead actor, and he's also a native of the region.

Destaca que la gran cantidad de actores, por no decir todos, tienen sangre polinesia, esto hace que el producto sea más auténtico y que el espectador conecte mejor con la historia. En gran parte de la serie se habla hawaiano con todo y que algunos de estos actores son de Nueva Zelanda. El nivel de actuación es muy bueno, todos estos personajes tiene una esencia un tanto mística en pantalla producto de lo que tienen que mostrar que hace que los diálogos y acciones sean mucho mejor percibidos, desde un simple rezo a un Dios hasta una conversación con otra persona. Luciane Buchanan, Cliff Curtis y Temuera Morrison son algunos de los actores y actrices que vemos y que quizás sean bastante más conocidos que el resto. Y es que es eso, el elenco es espectacular.

It's worth noting that a large number of the actors, if not all of them, have Polynesian heritage, which makes the series more authentic and helps viewers connect better with the story. Hawaiian is spoken throughout much of the series, even though some of the actors are from New Zealand. The acting is excellent; all the characters have a certain mystical quality on screen, which enhances the impact of their dialogue and actions, from a simple prayer to a conversation with another character. Lucy Lawless, Cliff Curtis, and Temuera Morrison are among the actors we see, and they are perhaps more well-known than the others. The cast, in fact, is truly spectacular.

Source!

Source!

Todas las escenas en donde vemos batallas y enfrentamientos están logradas a la altura de la producción. Como ya dije la violencia es la bandera, en aquellos tiempos no habían armas de fuego, aunque en la serie si las llegamos a ver casi al final, por lo que las peleas eran cuerpo a cuerpo con armas hechas de manera rudimentaria con materiales naturales como huesos y piedras. Esto no impide que la brusquedad no la veamos, al contrario, casi siempre es muy gráfico todo, mucha sangre, y formas de morir bastante creativas y llamativas. Estas cosas a mi siempre me van a gustar porque dan vistosidad a la historia, definitivamente no anduvieron con medias tintas. La ambientación es otra de las cosas que destaco, los espacios naturales (esto se grabó en Nueva Zelanda), realmente te transportan a esos tiempos. Todo muy cuidado.

All the scenes featuring battles and confrontations are executed to a very high standard. As I mentioned, violence is a key element of the series; in those times there were no firearms, although we do see them used briefly towards the end. Consequently, the fighting is mostly hand-to-hand combat, with weapons crudely fashioned from natural materials like bones and stones. This doesn't detract from the brutality, quite the contrary; the violence is often very graphic, with plenty of blood and some quite creative and memorable ways of dying. I always appreciate these elements because they add visual impact to the story; they certainly didn't hold back. The setting is another aspect that stands out; the natural landscapes (filmed in New Zealand) truly transport you to that era. Everything is meticulously crafted.

En fin, esta es una gran serie con una historia muy interesante y entretenida, tiene de todo un poco. Le doy 9/10, me sorprendió mucho la verdad. Se espera que sea renovada para una segunda temporada por la forma en cómo cerró esta primera. Si tienen la oportunidad de verla, háganlo porque vale 100% la pena. Les dejo el tráiler por acá abajo.

In short, this is a great series with a very interesting and entertaining story; it has a little bit of everything. I give it a 9/10; it really surprised me. Given how the first season ended, it's expected that it will be renewed for a second season. If you have the chance to watch it, definitely do so, because it's absolutely worth it. I've included the trailer below.

Source!

***

Bueno mi gente es todo por hoy, espero que les haya gustado. ¡Un abrazo a todos, nos vemos en la próxima!
***

Well, everyone, that's all for today. I hope you enjoyed it. ¡Take care, and see you next time!
Ruthie💥👁️‍🗨️
@seunruth (69)
📍 Nowhere
100 followers
46 following
Currently lost in the 13th realm {Author of "Darkling heart" and "Golden ache"}
284d
Movie · on Bad Influence
Movie Review: Bad Influence // Mala influencia

I’m still replaying certain scenes in my head because this movie is one of those psychological thrillers that unsettles you, makes you question your own boundaries, your own choices.

What caught me right away was how ordinary it all seemed at first. Michael, the straight-laced, somewhat timid guy—you know the type, hardworking, polite, predictable. He’s the kind of character you might overlook in real life, the quiet one at the office who always follows the rules. And then, in comes Alex. Charismatic, daring, magnetic in that dangerous way that makes you lean in even when you know you should lean back. The dynamic between them pulled me in because it felt so real: that tension between who you are and who you secretly wish you could be.

It was both exciting and scary to observe Michael gradually becoming a slave to Alex. I was not sure whom to blame, and was tempted to feel complicit, since on the one hand I wished Michael to come out of his shell, to experience freedom, to say yes to the darker urges that we all suppress. And then the kick in the gut--that there was no freedom under Alex. It was murder camouflaged as freedom. And it struck me not as hard as I had imagined, because isn’t it in all of us that we have had instances that we confused recklessness with freedom, that we have been influenced by another person and pulled into making decisions that we hardly saw as our own?

It had an amusing place or two--not in the ha-ha sense, but in the uneasy, embarrassed sense when you are viewing someone in a situation of error which you have just barely escaped yourself. The events, the promiscuous evenings, the smug contentment with which Michael peeled off his old skin, it was intoxicating to observe. I thought that cooling of recognition, that voice, that says, What, just once? That is what made the movie stick in my head: it brings out a mirror to those dangerous fantasies.

However, there were some times when I was literally gutted. It was not only appalling when Alex took off his mask and you knew who you were dealing with, it was choking. The understanding that Michael was locked up, that what began as fun now was life-destroying, broke my heart. It was a reminder of the fact that there is a thin line between choice and coercion and how power can so easily be taken away when you are too generous with yourself.

That discomfort was supplemented by the cinematography, the slick night scenes against the sterile and rather ordinary life that Michael used to have. It was as though you were witnessing two worlds bleeding into one each other till you could not distinguish between them. The visual feeling of being lost was a reflection of how Michael was also unzipping and I was feeling it in my chest.

By the point where the movie hit its peak, I was not merely watching a thriller, I was struggling with my own questions. Who are my people who I allow to influence me? At what point do I border the desire to change and be lost? That is what keeps Bad Influence in your head, it is not only about Michael and Alex, but it is about everyone, the frailty of self when confronted with temptation and charm.

At the end of the credits, I did not experience relief. It bothered me, as though I had been reminded about something that I would rather not have known: that sometimes the worst villains are not monsters or strangers, but those very people who smile and smile when they are uninviting us, smiling when they are unzipping us.

It felt like watching, then, how? It was the sensation of seduction and betrayal at the same time. It was like trying something that is dangerous and then discovering that it is poison. And that is why Bad Influence is not any other thriller, it is a silent alert disguised as entertainment.

Thumbnail is designed by me on pixelLab and other images are screenshot from the movie
Bethyjade
@bethyjade (74)
📍 Valencia, Venezuela
577 followers
64 following
Amo cantar, bailar, escribir y jugar videojuegos. Adicta al café
284d
TV · on Money Heist: Korea – Joint Economic Area
Differences between Money Heist Korea and the Original [ESP/ENG]

I don't know if you may know that "La Casa de Papel" or Money Heist as they decided to call it in some English-speaking countries, was a phenomenon that spread beyond its borders, even reaching Asia where they made a remake, which I am currently watching. This version generated debates on networks and divided the opinions of the fandom, some claimed not to want to see it because it was a copy and paste of the original, and others instead criticized the marked differences it has. For my part, seeing the matter from an objective point of view, I can say that a remake is precisely about doing everything again, therefore it will have scenes that are the same (What did you expect?) it is logical, and in any case the series is not exactly the same, there were, as I already mentioned, marked differences, but precisely in this post I will talk about what I liked most in one series and the other.

No sé si quizá ustedes sepan que la Casa de Papel o "Money Heist" como decidieron llamarla en algunos países angloparlantes, fue un fenómeno que se extendió más allá de sus fronteras, llegando incluso a Asia donde hicieron un remake, el cuál yo estoy viendo actualmente, esta versión generó debates en redes y dividió las opiniones del fandom, algunos alegaban no querer verlo porque era un copie y pegue del original, y otros en cambio criticaron las marcadas diferencias que tiene. Yo, por mi parte, viendo el asunto desde un punto de vista objetivo puedo decir que un remake precisamente se trata de hacerlo todo de nuevo, por lo tanto va a tener escenas que son iguales (¿Qué esperaban?) es lógico, y en cualquier caso la serie no es exactamente igual, hubo, como ya les mencioné, marcadas diferencias, pero precisamente en este post les hablaré de lo que me gustó más en una serie y en la otra.

The Argument
El Argumento

As for the plot, I think I liked the one from the original series much more. It is about a group of robbers who, although they want to destabilize the system and are motivated by the idea of exposing the crimes and irregularities that the government has also committed, did not have a purely political motivation, as does Money Heist from Korea, where we can have a hypothetical example of what a unified country could be like after years of polarization (as happened in Germany) and how these differences between those in the north and those in the south can affect both coexistence and decisions, even in a situation as difficult as a robbery.

En cuanto al argumento creo que me gustó mucho más el de la serie original, se trata de un grupo de asaltantes que, si bien quieren desestabilizar el sistema y los motiva la idea de exponer los delitos e irregularidades que el gobierno también ha cometido, no tenían una motivación meramente política, como sí la tiene La Casa de Papel Corea, donde podemos tenemos una muestra hipotética de lo que podría ser un país unificado luego de años de polarización (como ocurrió en Alemania) y como estas diferencias entre los del norte y los del sur pueden afectar tanto la convivencia como las decisiones, incluso en una situación tan difícil como lo es un atraco.

Fuente

The Masks and the Uniforms
Las Máscaras y los uniformes

The huge difference is obvious, I prefer the uniforms from the original Money Heist a thousand times over, these look better crafted, the red color is more vibrant and even the zippers look better quality, on the other hand I have to be very honest and objective about the masks because although I honestly liked the Salvador Dalí mask that the assailants used in the original version much more, I think it doesn't provide any specific message, something that denotes insurgency or resistance like the Guy Fawkes mask does, but I think maybe they wanted to draw attention with something different and representative of Spain, however in that case, to be fairer I would have to give a point in favor of the Korean version, since they used masks from the Hahoe region that are used in traditional dances to satirize characters in Korean society, and which are often used to mock the rich, so it would make more sense, don't you think?

Salta a la vista la enorme diferencia, prefiero mil veces los uniformes de La Casa de Papel original, estos se ven mejor trabajados, el color rojo es más vibrante y hasta las cremalleras se ven de mejor calidad, por otra parte tengo que ser muy sincera y objetiva con el tema de las máscaras porque aunque sinceramente me gustó mucho más la de Salvador Dalí que usaron los asaltantes en la versión original, pienso que no aporta ningún mensaje concreto, algo que denote insurgencia o resistencia como si lo hace la de Guy Fawkes, pero pienso que tal vez quisieron llamar la atención con algo diferente y representativo de España, sin embargo en ese caso, para ser más justa yo tendría que darle un punto a favor a la versión coreana, ya que usaron máscaras de la región de Hahoe que se usan en danzas tradicionales para satirizar a personajes de la sociedad coreana, y que a menudo se usa como burla a los ricos, así que tendría más sentido, ¿no lo creen ustedes?.

Fuente

Characters
Personajes
The Professor
El Profesor

Wow! Here my opinion is divided, for example, I like the professor from the original version much more, he is much more expressive, although he is shy most of the time, but this only makes the difference completely stand out, when he takes the intercom and assumes the role of the leader of the gang, on the other hand I liked the fact that he had no relationship with Inspector Murillo, but met her in the cafeteria, he did not plan to fall in love with her, everything happened spontaneously, while in the Korean version he apparently planned it that way from the beginning, to top it off the cafeteria is his and he has all the equipment right there, right behind a sliding door 😕 That's absurd! In the original version of Money Heist the professor had his operations post somewhere else, and the times he was about to be discovered it was interesting to see how he turned everything in his favor. So I prefer the professor from the original version a thousand times over.

¡Wow! Aquí mi opinión se encuentra dividida, por ejemplo, me gusta mucho más el profesor de la versión original, es mucho más expresivo, aunque se muestre tímido la mayoría del tiempo, pero esto solo hace que se marque totalmente la diferencia cuando toma el intercomunicador y asume el papel del líder de la banda, por otra parte me gustó más el hecho de que él no tenía ninguna relación con la inspectora Murillo, sino que la conoció en la cafetería, él no planeó enamorarse de ella, todo surgió de forma espontanea, mientras que la versión coreana él a parecer lo planeó así desde un inicio, para colmo la cafetería es suya y tiene todo el equipo allí mismo, justo detrás de una puerta corrediza 😕 ¡Eso es absurdo! En la casa de Papel versión original el profesor tenía su puesto de operaciones en otro lugar, y las veces que estuvo a punto de ser descubierto era interesante ver como él volteaba todo a su favor. Así que prefiero mil veces al profesor de la versión original

Fuente

Fuente

Tokyo
Tokio

However, as far as Tokyo is concerned, I prefer the Korean version a thousand times over because I see a better development and a more concrete motivation, she is not just another thief in the gang, she was an avenger, she was dedicated to defending people who had been scammed by South Korean immigration agents, she comes from the north, so she knows what it is like to suffer deprivation and also have to lose the little she has because of a swindler loan shark, I also like that she is a more humanized character, she always thinks about others and is very methodical, she thinks very well before acting, while the Tokyo of the original version, in my opinion, is overrated, she was a selfish woman (until she finally acted thinking about the group but I suppose because she had no other choice) she was also impulsive and often her rash decisions drove me crazy.

Sin embargo en cuanto a Tokio se refiere prefiero mil veces la versión coreana porque le veo un mejor desarrollo y una motivación más concreta, ella no es solo una ladrona más de la banda, ella era una vengadora, se dedicaba a defender a las personas que habían sido estafadas por los agentes migratorios de Corea del Sur, ella viene del norte, así que sabe lo que es sufrir carencias y que además tenga que perder lo poco que tiene por causa de un usurero estafador, además me gusta que es un personaje más humanizado, siempre piensa en los demás y es muy metódica, piensa muy bien antes de actuar, mientras que la Tokio de la versión original, en mi opinión está sobrevalorada, era una mujer egoísta (hasta que finalmente actúo pensando en el grupo, pero supongo que porque ya no le quedaba de otra) además era impulsiva y a menudo sus decisiones tomadas a la ligera me sacaban de quicio.

Fuente

Execution of the Scenes
Ejecusión de las Escenas

In this sense I think that both versions do a good job, good photography management, excellent setting and with very realistic scenes, as for the action scenes I lean a little more towards the original version because they were more exciting, but I definitely appreciate that the Korean version is much more elegant in the sexual scenes, on this side the Netflix world often uses this resource just for the sake of it and now, for fan service, for no reason, they do not contribute anything to the plot really, but the Koreans did not waste time and got to the point in the scenes that did contribute to the plot and that were much more exciting.

En este sentido pienso que las dos versiones hacen un buen trabajo, un buen manejo de fotografía, una excelente ambientación y con escenas muy realistas, en cuanto a las escenas de acción me decanto un poco más por la versión original porque eran más emocionantes, pero definitivamente agradezco que la versión Coreana sea mucho más elegante en las escenas de corte sexual, de este lado el mundo Netflix a menudo usa este recurso por el simple hecho de hacerlo y ya, por el fan service, sin ningún motivo, no aportan nada a la trama en realidad, pero los coreanos no perdieron el tiempo y fueron al grano en las escenas que sí aportaban a la trama y que eran mucho más emocionantes.

Fuente

Bella Ciao

There's no point of comparison here, the original version simply wins by including such a song that is a symbol of rebellion and resistance, since the partisans faced the fascists in Italy, every time this song appeared in the series it was an explosion of joy and jubilation, the Korean version simply doesn't have it.

Aquí no hay punto de comparación, simplemente la versión original se lleva todas las de ganar por incluir semejante canción que es símbolo de rebeldía y resistencia, desde que los partisanos se enfrentaban a los fascistas en Italia, cada vez que aparecía esta canción en la serie era una explosión de alegría y júbilo, la versión coreana simplemente no la tiene.

And well, people, that's all for today's post, I hope you liked it. Thank you very much as always for supporting my work, I welcome new readers, I love you all very much, I send you a hug and I'll see you in another post.

Y bueno, gente, esto ha sido todo por el post de hoy, espero que les haya gustado. Muchas gracias como siempre por apoyar mi trabajo, le doy la bienvenida a los nuevos lectores, les quiero mucho a todos, les envío un abrazo y ya nos encontraremos en otro post
TV Nerd
@netflixr (79)
247 followers
77 following
I watch entirely too much Netflix and would like to find others with the same problem :)
284d
Movie · on Eddington
Eddington (film): Disturbing and kind of reminds us of how crazy things became
I knew nothing about this film other than the people that were starring in it when I started watching. I didn't even read the synopsis because sometimes I like to go into a film completely blind.

While this film didn't disappoint I almost felt like it brought out some non-soldier PTSD in me and perhaps many other people because if you were alive in 2020 you probably witnessed a great deal of the craziness that this film portrays and it is tough to watch because you know that you lived it.

The film stars Joaquin Phoenix and of course Pedro Pascal, who just has to be in everything these days.
[src](https://resizing.flixster.com/wIIR4VPLcRYZGgNMRNh49F6T3rQ=/fit-in/705x460/v2/https://resizing.flixster.com/-XZAfHZM39UwaGJIFWKAE8fS0ak=/v3/t/assets/p30001822_v_v13_ad.jpg)
The story here is that it is sometime in 2020 and the Covid lockdowns and notions of disease prevention were spreading like wild as were the notions of the people that decided to be either in favor of the rules, or those that were very opposed to them. Phoenix plays the role of Sheriff Joe Cross, who is very anti-mask, anti social-distancing, and anti lockdown. He is basically anti-everything-related-to-Covid. Pedro Pascal plays the role of Mayor Ted Garcia, who is very pro-all-of-these-things.

After a spat related to lockdowns and masks, Joe Cross decides that he is going to run for mayor in order to free the town from the lockdowns and everything related to it. In such a small community as Eddington, everyone knows everyone, so things get pretty dirty, pretty fast as far as their campaigns go. They are also really low-scale and a lot of things happen that kind of make fun of politics. I think most people will be able to get behind that!

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Another thing that is focused on in this film is how the protests about (just whatever) turned into riots and this quickly became something that was almost fashionable for people to get involved in just so that they could score some social media points and put something online. There were scenes of people who were hardcore pro this or anti-that but as soon as the "cameras weren't rolling" they showed themselves to be the hypocrites that they actually are. The time in 2020 was an internet-controlled one, and one that I think that a lot of us would probably prefer to forget.

This film is meant to be uncomfortable and it is meant to make people angry. One reviewer said "it is designed to be divisive now in 2025. If you hate it, it's kind of done its job." I think this is probably very true because a lot of people out there are not really fond of the memories of what they did during those times or how they turned their backs on friends and family because they weren't on the "right side" about masks or lockdowns or other such things that were never a part of any of our lives prior to this.

src

Things reach a boiling point in this small New Mexico town and the mild mannered Joe Cross gets to a point where he also starts to lose his cool even though he has kind of seen himself - and others did as well - as a voice of reason up to the point that he simply can't take it anymore.

I think a lot of us can at least in some way, relate to this feeling as the movie goes on. I know that there were times that I had to fast-forward the movie because it was making me feel too uncomfortable.

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one thing that I really thought was a good idea about this film was that at no point in time was it preachy and it didn't ever take "a side" as far as anything was concerned related to Covid. It presents both sides as being absurd in their own way and the movie at no point tries to paint either one as being dead wrong. This is a good thing because I think now, even 5 years later, that there are a lot of people that are very sensitive about this subject matter.

I do think the film was significantly longer than it needed to be though and at times I felt myself getting really bored as there wasn't a lot of progression in the story, sometimes for 20 minutes in a row. Almost any non LOTR film that is 2 and a half hours long is too long in my opinion.

I don't really want to say any more about the story than that because some stuff is going to happen that you definitely don't expect. This is a total work of fiction, just keep that in mind. There is no Eddington in New Mexico and none of the stories depicted about it are true.

Should I watch it?

This is where I might end up surprising you a bit: While I did enjoy this film after it was finally over, it is so long and drawn out that I think most people are going to bail on it before it is over. I mean it REALLY drags on too long. This film could have easily been a 90 minute movie and it would have been a lot better (in my mind) if that is what they had created instead of this.

I think that for many, if you do sit down to watch it, keep the remote in hand and scan through great swaths of it because I would say at least 50% of what happens on screen, isn't actually something you need to see to get the full story.

tl:dr: It's good subject matter and since it doesn't take sides I feel it is a good representation of what Covid times were like in a lot of USA and many of us should be ashamed. That being said, it's too long and quite a slog

_{as is the case with many films now and probably for the foreseeable future, this film is not streaming on any platform at the moment but can be rented or purchased on nearly all of them}
Drax
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284d
TV · on The Wire
Television Review: Bad Dreams (The Wire, S2X11, 2003)

Bad Dreams (S02E11)

Airdate: August 17th 2003

Written by: George Pelecanos Directed by: Ernest Dickerson

Running Time: 58 minutes

Television epics of The Wire's calibre possess a distinct narrative rhythm, one where intricate plotlines unfurl with patient deliberation across entire seasons, only to converge and resolve in the final episodes with a velocity that often feels precipitous, even frustrating, to invested viewers craving more measured closure. David Simon’s Baltimore saga exemplifies this tendency, yet compounds audience discontent through its unwavering commitment to bleak, often devastating conclusions. Where lesser dramas might offer catharsis or redemption, The Wire consistently opts for the grim veracity of its setting: a city choked by institutional decay and individual compromise, where hope is perpetually deferred. Consequently, resolutions rarely feel triumphant; they feel earned through the harsh logic of the streets, the docks, and the corridors of power. Bad Dreams, the penultimate episode of the frequently misunderstood second season, stands as a prime exemplar of this philosophy. It delivers not a climax, but a meticulously orchestrated collapse, where the painstaking efforts of the Major Case Unit (MCU) are rendered tragically insufficient against the cold efficiency of the Greek’s organisation, and where Frank Sobotka’s noble, misguided quest culminates in utter ruin.

The preceding episode, Storm Warnings, unleashed acts of irrational, brutal violence which catastrophically undermined the MCU’s painstaking investigation. Bad Dreams lays bare the immediate, crushing consequences of that chaos. Storm Warning ended with a desperate, high-stakes race against time: the beleaguered law enforcement, scrambling to file last-minute search warrants before the statute of limitations expires, versus the Greeks, methodically erasing all traces of their operation. The Greeks, naturally, win this contest. When the raids finally descend upon the docks and related locations, the principal architects – the enigmatic Greek and his lieutenant Spiros Vondas – are already beyond reach, having spirited away the most damning evidence. The MCU’s efforts, however, are not entirely in vain, though their partial victories taste profoundly bitter. Foot soldiers like Eton and Sergei are apprehended, a minor tactical win. More significantly, Herc and Carver uncover a massive stash of heroin and drug money in the basement of Luis Sobotka. This discovery, however, is laced with familial tragedy. Nick Sobotka evades arrest solely because he spent the night with Prissy Catlow, leaving his actual girlfriend Aimee to be handcuffed and his parents subjected to the public humiliation of the warrant.

While Nick narrowly escapes the net, his uncle Frank is not so fortunate, his downfall orchestrated largely by the vindictive, pigheaded ambition of Major Stan Valchek. After years of petty rivalry, Valchek finally succeeds in twisting the FBI’s focus entirely onto the dockyards, sacrificing broader investigations for his personal vendetta. The union offices are raided with theatrical force, Valchek himself triumphantly cuffing Frank Sobotka and ensuring his arch-rival is paraded before the waiting television cameras, a final, degrading insult. Though Frank secures bail swiftly, this temporary freedom offers scant solace. He rapidly comprehends the totality of his collapse. His lobbyist, Billy DiBiagio, coldly informs him he has become "radioactive," his political capital evaporated overnight; the very projects he sought to fund through his dangerous dalliances with the Greeks – projects intended to save the union and the docks – are now politically toxic and dead. The devastation deepens during a visit to the incarcerated Ziggy. Witnessing his son already brutally beaten by fellow prisoners, Frank confronts the horrifying reality that Ziggy’s small stature condemns him to decades of such abuse. The final blow comes from his own brother, Louis, who chastises Frank for the catastrophic stupidity of bedding down with criminals, directly blaming him for bringing this ruin upon the entire Sobotka family. Frank’s world, built on the desperate hope of saving his union and his community, has imploded within hours, leaving only ashes and despair.

Meanwhile, the MCU scrambles to salvage something from the wreckage. Lieutenant Cedric Daniels is incensed by the sheer incompetence of Sergeant Jay Landsman and the Homicide Unit, who failed to inform the MCU of the murder of the Greek’s associate, Glekas, until it was far too late to prevent the Greeks’ clean escape. They pivot, starting with Michael "White Mike" McArdle (Brook Yeaton), a low-level East Baltimore dealer who readily identifies Vondas as his supplier. Yet, to build a case capable of reaching the Greek himself, Vondas must be followed. Despite Beadie Russell's relative inexperience in undercover surveillance, she proves remarkably resourceful and diligent. Her efforts, however, are inadvertently sabotaged by the more seasoned Kima Greggs, who, distracted or overconfident, fails to spot the formidable Greek himself during a critical surveillance operation. This lapse, emblematic of the systemic failures plaguing the police, allows the Greeks crucial breathing room.

The Greek and Vondas, operating with supreme confidence in their ability to evade justice, even have the luxury of debating their next move. The Greek, pragmatic and ruthless, favours tying up all loose ends permanently – eliminating Frank Sobotka or Nick. Vondas, however, reveals an unexpected layer; having developed a genuine rapport with Nick, even viewing him as a kind of surrogate son, he proposes an alternative. Frank and Nick’s silence could be bought by securing Ziggy’s freedom through the false testimony of the surviving witness in Glekas’ murder. Nick is approached with this offer. Simultaneously, the MCU, recognising Frank’s potential value, sends Beadie Russell to plead directly with him, urging him to cooperate against the Greeks. Frank, initially agreeing, is later tempted by Nick’s relayed message about the Greeks’ alternative proposal. He decides to meet them directly. Crucially, just before this fateful encounter, messages sent to FBI headquarters reach Agent Koutris, who immediately warns his partner – the Greek. The Greek calmly informs Vondas that "his way wouldn't work," suggesting that Frank won't survive the meeting.

Interwoven, though feeling increasingly disconnected from the season’s core narrative, is the subplot involving Stringer Bell, Omar Little, and Brother Mouzone. Stringer, displaying breathtaking cynicism and nerve, manipulates Omar by falsely claiming that Mouzone was responsible for the torture and murder of Omar’s partner and lover, Brandon. Driven by a thirst for vengeance, Omar tracks Mouzone to a motel room and shoots him in the stomach. As Mouzone lies wounded, he calmly states he had nothing to do with Brandon’s death – and does so with such conviction that Omar believes him. He departs only after calling an ambulance.

Written by the acclaimed crime novelist George Pelecanos, a key collaborator with David Simon, Bad Dreams stands as one of The Wire’s darkest hours, a distinction in a series rarely known for levity. This profound darkness stems overwhelmingly from Frank Sobotka’s trajectory. Arguably one of the show’s most tragic figures, Frank’s defeat is absolute, rendered all the more devastating because his core intentions were noble and selfless. He sought only to save his union, his workers, and the dying port – not for personal gain, but for community survival. Yet, he loses everything: his union leadership, his son’s future (trapped in prison), the respect of his peers (and brother), and, as the chilling "Bolivian Army" ending foreshadows, ultimately his life. The true horror, the element that elevates this from personal tragedy to systemic indictment, is that much of this catastrophe is precipitated not by Frank’s inherent corruption, but by the stupidity and incompetence of others. Valchek’s bull-in-a-china-shop vendetta; Landsman’s negligent failure to communicate the Glekas murder for a day and a half; Assistant State Attorney Rhonda Pearlman’s rigid, procedural insistence that Frank must obtain a lawyer before entering protective custody – these institutional failures compound Frank’s own fatal misjudgements, painting a picture where noble intentions are inevitably crushed by the grinding gears of dysfunction.

It is precisely this unrelenting darkness that renders the episode’s final montage so profoundly unsettling. As the Greek and Vondas calmly handle the crisis – packing, making final arrangements – they are accompanied by the cheerful, lilting strains of Greek folk singer Stelios Kazantzidis. The music, ostensibly celebratory, becomes deeply ironic against the backdrop of Frank Sobotka’s imminent demise and the MCU’s hollow victory. The cheerful music feels like salt in the wound, a reminder of the vast gulf between the perpetrators’ reality and the devastation they leave in their wake.

However, the episode is not without its flaws, the most significant being the aforementioned Omar/Brother Mouzone storyline. While providing a thrilling confrontation between two iconic figures, the entire sequence feels distinctly unorganic within the specific tapestry of Season 2. It reads less as a necessary narrative progression and more as an exercise in fan service – an opportunity to stage a showdown between formidable characters while the season still allowed it. This contrivance damages the episode’s otherwise impeccable realism. Worse, it significantly diminishes Omar Little’s stature. Omar, renowned for his street-smart caution and near-mythical ability to read situations, is portrayed here as remarkably gullible, easily manipulated by Stringer’s transparent lie. His subsequent, almost theatrical pause upon hearing Mouzone’s denial – allowing the wounded man time to convince him – feels melodramatic and out of character for such a pragmatic survivor. The Wire, a series that prided itself on uncompromising authenticity in depicting the mechanics of crime and policing, momentarily stumbles here, sacrificing its core strength for the sake of a sensational, albeit narratively jarring, set piece.

Bad Dreams is not an easy watch. It denies the audience the catharsis of a clean victory, offering only the sour consolation of partial arrests and the profound tragedy of Frank Sobotka’s downfall. Yet, this is precisely where its power lies. It is a masterclass in tragic inevitability, demonstrating how noble intentions, when entangled with systemic rot and human frailty, inevitably unravel. The episode’s brilliance is in its refusal to look away from the consequences, forcing viewers to confront the uncomfortable truth that in the world of The Wire, the most realistic dreams are often the worst kind.

RATING: 6/10 (++)

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284d
TV · on Chief of War
Chief of War (2025) - My Biggest TV Surprise This Year - SEASON 1 - RECAP
[Source](https://alkhamisa.com/) Chief of War season one just became one of my biggest surprises of the year and I still cant believe how much this Apple TV series caught me off guard. Jason Momoa playing Kaiana in this Hawaiian historical drama about the unification of the islands turned out way better than I expected it to be, specially after watching that season finale that had me hyped up during the the entire episode. The show takes place during the wars between different Hawaiian kingdoms with this prophecy floating around about some king who gonna unite all of them eventually, which sounds cliche as hell but the way they handle it makes it feel interesting although nothing really new, I didnt cover Season 1 because firs I understood this was going to be a mini series but now its not and second because its very very Hawaiian historic to the point I dont want to mess up with history data and get things inaccurate so decided to let it go and just do a Season recap / review. What surprised me most was how this wasnt just another action heavy war series, instead it focused on the people and their relationships and the cultural significance of everything happening around them, which made every single battle scene hit way harder because you actually care about everyone involved in the fighting. Jason Momoa really stepped up his game here playing Kaiana who used to be King Kahikili's chief of war but quit because he couldnt stomach all the pointless bloodshed anymore, the guys performance feels so natural, so raw that you forget he is the same dude who played Aquaman in those DC movies. The show doesnt hold back on showing you how brutal this world really was, these arent your typical sword fights with clean cuts, these warriors use weapons embedded with shark teeth and coral that leave these jagged wounds that made me look away half the time because it was just too damn intense to watch. But what really brought the most satisfaction was watching characters like Kahumanu break through all the patriarchal bullshit of her time to become this political powerhouse, the way she navigated being a woman in leadership while supporting Kamehameha's rise to power was absolutely incredible to see unfold over nine episodes, everything that happen during the series is link up together and she is just an example of the many others who out grow their character.
- IMDB: https://www.imdb.com/title/tt19381692
- Platform: AppleTV+
Rottentomatoes Rating

[Source](https://screenrant.com) [Source](https://screenrant.com)
The battle scenes in this show are unlike anything I have seen on television lately and Im including all those big budget fantasy series when I say that because this felt more real and brutal than most of them but balanced at the same time, almost like you can imagine this happening in real life by real people. When they finally got to that volcanic desert showdown between Kamehameha forces and Keoua army it was just pure chaos in the best possible way, with warriors fighting on actual hot volcanic rock while the earth is literally falling apart beneath their feet and lava is flowing everywhere, this is the only part that I find hard to beleive but Im no expert on Hawaiian history but Im almost certain this is just part of the "show" business. What made it even more insane was watching how organized Kamehameha side was compared to Keoua scattered fighters, you could see the difference between people fighting because they believe in something versus people fighting out of fear and ego which created this interesting contrast throughout the battle. The introduction of guns or red mouthed weapons as they called them added this whole strategic element that wasnt just about who had better weapons but about how they used them, passing rifles down the line so people could reload while others kept firing was genius military tactics, watching them not only shooting the guns but using them as close combat weapons was so sick. OMG and where to start with that whole spiritual rap battle thing before the actual fighting started where both sides were basically trash talking each other while waiting for signs from the gods, it was like watching the most intense staring contest of all time mixed with a wrestling promo that went on forever, but the moment that really got me was when Heke finally got her revenge on that piece of shit Opunui who had assaulted her, watching her use that poisoned hair pin to slowly kill him was brutal but so damn satisfying because she earned that moment after everything she went through, that was pure satisfaction although felt he went down too easy to be honest. The whole sequence where Kahumanu shot him in the leg instead of killing him because she knew it was Heke fight to finish showed this unspoken understanding between women that just pure script glory, writers of this series really understand what the viewers want, you dont need dialogue to know whats happening there and it was beautiful in its own dark way.
[Source](https://screenrant.com) [Source](https://screenrant.com) In Chief of War the fact that most of the dialogue is in Hawaiian with subtitles makes everything feel more authentic and immersive, the intial episodes are full Hawaiian for the most part but then they start mixing it up with english and I think that was intentional to capture the audience, your not listening to actors pretending to be Hawaiian while speaking perfect English the whole time which would have been terrible. Jason Momoa being part of the production team really shows because you can tell this wasnt just another paycheck for him, this was personal and it comes through in every scene hes in and every decision they made about the story. The series goes deep into brotherhood and family, true loyalty, seeing Kaiana and his brothers embrace and show affection without all the toxic masculinity bullshit we usually get in war shows was fkn awesome to watch and felt very natural. Tonys story as a former slave who gets accepted and brotherhood with Kaiana people added this whole layer about found family and belonging that made his character way more than just the sidekick they could have easily made him. The political drama between different kingdoms and chiefs felt complex as it should but never over the top, reasons and motives were easy to understand if you pay attention, you could follow who was allied with who and why they were making certain decisions without needing a damn flowchart to keep track of everything. [Source](https://screenrant.com) [Source](https://screenrant.com) The season finale was something else but the thing is now there is a second season from what i can tell, IMDB still says "Mini Series" but wtf now with King Kahekili, cant leave him hanging, but holy shit that ending sequence for season one changed everything I thought I knew about where this story was heading and what would happen next. Watching Kaiana almost die in that lava flow while fighting Keoua felt like destiny fucking him up because at fist look like he was going to end up taking the worst part, when Kahumanu was screaming his name I felt that panic because he was really gonna die and a bigger WTF moment was when she went back to Kamehameha and he was like ok you got something for him now we all know it, but then when he survived and everyone was cheering for him instead of Kamehameha you could see that jealousy and resentment starting to build, he just let it slide because he is the king although Kaiana is the leader, which sets up what obviously gonna be a huge conflict in season two if we get one. Kupuhi getting injured and Namake saving her while dealing with his own guilt about loving his brothers wife added this emotional complexity even after confronting Kaiana before going to war, they didnt need any dragons or magic for it to feel more epic than most fantasy shows, just people fighting with everything they had for their families and their future which is way more powerful than any supernatural element, well they had a fkn volcano going off too. The cinematography during those volcanic eruption scenes was absolutely stunning although the lighting at the end was not the best but still almost like you could feel the heat coming off the screen and the chaos of trying to fight while the ground is literally melting beneath you and threatening to swallow everyone whole.
Looking back at this entire first season Im shocked at how much this show managed to accomplish in just nine episodes, prove of great writing and drama, building these complex characters and relationships while also delivering some of the most brutal and beautiful battle sequences I have seen on TV lately, what makes it more special that its not your classic western or european story. The cast was absolutely incredible across the board but Jason Momoa really proved he can carry a serious dramatic series when given the right material, Kaiana character felt authentic and emotionally grounded instead of just another action hero role that relies on muscles and charisma, never felt like a Fast and Furious character all pump like a WWE wrestler. Temuera Morrison as King Kahikili felt like a manic as it was intended, playing this psychopath who justifies his brutality by claiming hes fulfilling some divine prophecy when really hes just a power hungry maniac who enjoys hurting people. The women in this show were just as strong and complex as the men, with Kahumanu and Kupuhi and Heke all getting their moments to shine without being reduced to just love interests or victims which happens way too often in these types of shows, I honestly though Heke would be this little sister on the background but damn did they make her character grow just in TWO episodes. The show respected Hawaiian culture and history while still making it easy to digest to audiences who might not know anything about this time period, the subtitles never felt like a barrier once you got used to them after the first episode. The production quality was top notch too, from the costumes made with actual feathers to the weapons that looked like they could actually fuck someone up in a fight instead of those fake plastic props you see everywhere, even with 9 episodes they did something epic, if I had to compare the quality I have to say Shogun (2026), big budget series like House of The Dragon should take notes. This show deserves way more attention than its probably gonna get because its doing something different in the historical drama space, Im giving Chief of War season one a solid 8 out of 10 because it surprised me in all the best ways and left me wanting more, which is exactly what a good first season should do and I really hope Apple gives it another season.
#skiptvads, #inleo, #hive, #chiefofwar, #jasonmomoa, #appletv, #hawaiian, #historical, #drama, #kamehameha, #kaiana, #kahumanu, #volcano, #battle, #warriors, #polynesian, #indigenous, #colonization, #revenge, #politics, #prophecy, #unification, #islands, #culture, #language, #subtitles, #violence, #brotherhood

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Erika Mendoza
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Libros, películas y series, videojuegos, música y mucho más. Acá van a encontrar reseñas de todo lo que me gusta y les quiera compartir.
284d
Movie · on Jane Austen Wrecked My Life
🎬 Movie Review: Jane Austen wrecked my life [ES/EN]
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¡Hola amigos! Espero que estén teniendo una agradable semana. Hoy me paso por acá para compartirles una película francesa que vi hace poco llamada Jane Austen arruinó mi vida y acá les traigo mi reseña.

Hello, friends! I hope you are having a pleasant week. Today I am stopping by to share with you a French film I saw recently called Jane Austen wrecked my life, and here is my review.

Trama - Plot

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En esta película conoceremos la vida de Agathe, una francesa que trabaja en una librería y es fan de los libros de Jane Austen. Tanto así que sueña con un romance como el que transmiten sus historias. También tiene el sueño de escribir una gran historia de amor pero está atravesando un bloqueo creativo, es por ello que con la ayuda de su mejor amigo es aceptada en la residencia para escritores de Jane Austen. Así que tendrá que viajar a Londres para ir a cumplir sus sueños y quizá encuentre mucho más que inspiración allí.

In this film, we learn about the life of Agathe, a French woman who works in a bookstore and is a fan of Jane Austen's books. So much so that she dreams of a romance like the ones in her stories. She also dreams of writing a great love story but is experiencing writer's block, which is why, with the help of her best friend, she is accepted into the Jane Austen writers' residence. So she will have to travel to London to fulfill her dreams and perhaps find much more than inspiration there.

Reseña - Review

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Es una película de esas al mejor estilo francés, a mí me llamó mucho la atención porque amo los libros y, por supuesto, leí casi todos los de Jane Austen así que me intrigaba la premisa de una joven que idealiza encontrar un gran amor y perderse en una buena historia. Me sentí identificada y creo que cumplió lo que prometió. Quizá es bastante tranquila, en el sentido de que no pasan muchas cosas en la película. No profundiza mucho en nada, ni en el trauma de la protagonista con respecto al accidente de sus padres, ni en su bloqueo creativo, aunque se da a entender por dónde viene la mano. Lo que sí nos encontraremos es con una especie de triángulo amoroso que me hizo dudar hasta a mí. Al principio era de un team y luego me pasé al otro porque se notaba mucha más química y que era más real. Aunque si quieren saber qué es lo que pasa van a tener que verla.

It's one of those films in the best French style. It really caught my attention because I love books and, of course, I've read almost all of Jane Austen's novels, so I was intrigued by the premise of a young woman who idealizes finding true love and losing herself in a good story. I identified with it and I think it delivered what it promised. Perhaps it is quite calm, in the sense that not much happens in the film. It does not delve deeply into anything, neither the protagonist's trauma regarding her parents' accident nor her creative block, although it is implied where it is coming from. What we do find is a kind of love triangle that even made me doubt myself. At first, I was on one team, and then I switched to the other because there was much more chemistry and it felt more real. But if you want to know what happens, you'll have to watch it.

La verdad es que me gustó mucho la historia. Es sencilla y bonita de ver, sin demasiadas complicaciones en el camino. Además me resultó bastante graciosa por momentos y eso sumó puntos. No sé si la catalogaría como un romcom, pero pienso que se acerca bastante. También me gustaron varios de los personajes, y el acento francés es una cosa maravillosa, sobre todo cuando no estás acostumbrado a escucharlo. La película me resultó muy al estilo de Jane Austen, por lo que le hizo justicia en ese sentido. Que creo que era el cometido y el final me pareció un poco abrupto, pero siento que fue el ideal para lo que se transmitió en toda la película. Aunque a mi lado más romántico le hubiera gustado tener otro tipo de cierre, igual bancamos.

The truth is that I really liked the story. It's simple and nice to watch, without too many complications along the way. I also found it quite funny at times, which added to its appeal. I don't know if I would classify it as a romcom, but I think it comes pretty close. I also liked several of the characters, and the French accent is a wonderful thing, especially when you're not used to hearing it. I found the film very Jane Austen-esque, so it did justice to her in that sense. I think that was the intention, and although I found the ending a little abrupt, I feel it was ideal for what was conveyed throughout the film. Although my romantic side would have liked a different kind of ending, we still enjoyed it.

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También me pareció interesante pensar en los bloqueos creativos como parte de los bloqueos emocionales, siento que si resuelves uno, quizá resuelvas todos y eso tiene sentido. Cuando empiezas a encauzar tu vida, todo parece cooperar para darte estabilidad y soluciones. Me gustó que al final la protagonista haya logrado desbloquearse en todos los sentidos y nos da ese mensaje de que no tenemos que negarnos a los cambios en nuestra vida por los miedos porque nos podemos estar perdiendo de algo bueno.

I also found it interesting to think of creative blocks as part of emotional blocks. I feel that if you solve one, you might solve them all, and that makes sense. When you start to get your life on track, everything seems to cooperate to give you stability and solutions. I liked that in the end, the protagonist managed to unblock herself in every way and gives us the message that we don't have to refuse change in our lives because of fear, because we may be missing out on something good.

En definitiva, es una película muy linda que les recomiendo si quieren algo ligero y reflexivo sin ser demasiado invasivo. La verdad es que disfruté mucho de verla y espero que ustedes también lo hagan si deciden darle una oportunidad.

In short, it's a very nice film that I recommend if you want something light and thoughtful without being too invasive. I really enjoyed watching it and I hope you will too if you decide to give it a chance.

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Bueno amigos, hasta acá mi opinión acerca de esta película. Espero que les haya gustado y los animo a verla si les llama la atención. Si ya la vieron me encantaría saber qué les pareció. Gracias por llegar hasta acá y apoyar mi contenido. ¡Hasta la próxima!

Well, friends, that's my opinion about this movie. I hope you liked it, and I encourage you to watch it if it catches your attention. If you've already seen it, I'd love to hear what you thought. Thank you for reading and supporting my content. See you next time!

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_{Traductor - Translation}

A world full of corruption

Un mundo lleno de Corrupción

In Conclusion

Reseña de "Chief of War" ¿Un intento de originalidad o un cliché con sabor a Hawái?

The Argument

El Argumento

The Masks and the Uniforms

Las Máscaras y los uniformes

Characters

Personajes

The Professor

El Profesor

Tokyo

Tokio

Execution of the Scenes

Ejecusión de las Escenas

Bella Ciao

Should I watch it?