The Walking Dead Daryl Dixon Season 3 Episode 1 called Costa da Morte, thats a lot of words to present and episode, but it finally dropped and honestly I was not expecting much after how season 2 turned out, but damn this episode suprised me with its character building, its like they took everything that made season 1 work and decided to throw in some fresh energy while keeping Carol and Daryl together which is exactly what this show needed. The episode starts with them walking through what looks like the english countryside and you can tell right away that the production quality went up big time with more practical effects and less CGI putting more craft into it, the cinematography looks amazing specially when they get to London and see all those zombies covered in vines and vegetation, it really makes you feel like this world has been abandoned for years and nature is taking everything back. Daniel Percival did an incredible job directing this episode and you can see his vision in every single shot, from the way he captures the post apocalyptic London to how he makes even simple scenes feel cinematic, the art direction and set design are probably the best things about this first episode and it shows they really put effort into making this feel different from what we got in France, I think that was the key for me making it more cinematic.

• IMDB: https://www.imdb.com/title/tt13062500/
• Platform: PRIME VIDEO

Seeing Daryl and Carol together again felt great because their chemistry is only match by Rick and Michonne, feels so natural and you can tell Norman Reedus and Melissa McBride know these characters inside and out after playing them for over a decade, from all this spin off the more natural and probably healthier relationship. The script feels much better this time, no more of that weird way of speaking that made characters sound like they were reading philosophy books instead of talking like real people it was probably because of the region and been in France, everything was probably more dramatic and now its more American??, both actors probably had input on their lines and it shows because everything feels more authentic. When they get trapped on that balcony surrounded by walkers you can feel the desperation but also this sense of them being tired of always running and fighting, Carol even says something about how this might be their time and its one of those moments that even makes you feel like its probably time to go down since these characters have been through so much hell. The zombie action sequences are pretty good too although they are not the main threat anymore and thats good too but keep them in the mix.

Then Julian Chamberlain shows up and Stephen Merchant is fantastic in this role I remember him a lot from those Big Bang Theory episodes, he plays this awkward lonely guy who calls himself the last englishman and you immediately like him even though you know exactly whats going to happen to him, die. This is where the show becomes predictable because anyone whos watched The Walking Dead for years knows that when they introduce a likeable new character like this he is basically dead meat, Merchant is charming and eccentric that you actually care about Julian even knowing his fate, but I also have to admit at first didnt know if he was going to play the nice guy role or been freaky for been alone for so long. The whole exposition about London being sealed off and how everyone died feels a bit rushed though, like they wanted to get through the backstory quickly so they could move on to the boat stuff, I think it would have been more interesting to spend more time in London and really explore how England dealt with the apocalypse instead of just glossing over it. The dinner scene with the rabbit and alcohol is nice because its where Carol tries to play tricks on Julian but he was easy to convince plus the alcohol, but then you remember this is The Walking Dead and nothing good lasts long, Julian mentions his boat and you can see Daryl and Carol thinking this might be their way home but its a bit cringe how they make it so obvious as they both throw away their drink while keeping Julian sipping one after another

The boat scenes are where things get interesting because Julian admits he doesnt really know how to sail properly which should have been a red flag but Carol and Daryl are so desperate to get home that they ignore the obvious problems with this plan, after all they were going to take the risk anyways. When they do make it onto the water theres this brief moment where they all seem hopeful and Julian talks about making it to America in 11 to 17 days, Carol even mentions being excited about whats coming next which is probably the most optimistic they have been through the previous two seasons where everything seem like deep troubles since episode 1, but then the storm hits and everything goes to hell as expected, that whole sequence with the big waves and Julian getting knocked around by the boom looks pretty good for a TV show budget, I say this because England was one thing but then the scenes at sea specially at night were not as good, you can tell where the money was spend the most and was not on the ship rekt. The flashback scene with young Daryl running around yelling for someone was a nice but frustrating, when are they going to give more context of his childhood? probably they did on the OG series but I dont remember anymore, I think the series never really get to see much of his childhood, though I hope they do more with those flashbacks as the season goes on because theres so much story potential there. I already know the season eventually develops in Spain that feels more like Mexico so I knew that when they wake up on the beach in Spain, they didnt make much progress toward getting home and are basically back to square one again, which is frustrating but also a new location for this season is a cool touch.

Carols injury from the metal shard looks dumb honestly, it didnt look that bad and it gives the episode some medical drama tension that doesnt last that much considering how easy Daryl patch her up, yeah she was burning up with fever but it didnt look that bad and only took her one night to get better. The whole scene where she confronts him about hiding his feelings and he finally opens up about seeing Isabelles ghost back in the tunnel was good character development, though I still think they rushed through some of that emotional stuff instead of letting it breathe naturally. Finding out they are in Spain through that map was probably too easy too, not some big dramatic reveal just them realizing they didnt get very far from where they started and the spanish countryside with all those walkers hanging in nets like trophies creates this dark atmosphere and you know humans are going to be the main threat. The ending with Carol disappearing after that military vehicle drives by is your typical cliffhanger that felt void, I just didnt like it, she heard some kids and probably went away with them but she was clear head by now, at least it promises more action in the next episode instead of just more walking around talking about feelings. Overall this episode works way better than most of season 2 did, mainly because it gets back to what made this show good in the first place which is Daryl and Carol working together and surviving in new environments, but the entire TWD universe is already too repetitive so its hard to get people exited about it, at least new viewers. The writing still has issues and some plot points feel rushed or just too predictable, but the production quality is what keeps the series up float for the most part, definitely higher and you can tell they tryng to make this feel like a real continuation of The Walking Dead instead of just a cash grab spinoff. I give this episode a solid 7 out of 10, its not perfect but it shows promise for the rest of the season if they can keep this momentum going.

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Hola amigos espero esten todos super bien, el dia de hoy les traigo una nueva ediciòn con mas de nuestras telenovelas que marcaròn pauta en la tv Venezolana.

Angélica fue una telenovela venezolana producida y transmitida por RCTV en 1976. Su historia fue escrita por Manuel Muñoz Rico, con dirección de Ulises Brenes, y protagonizada por Mayra Alejandra y José Luis Rodríguez. Además, supuso el primer gran papel de Mayra Alejandra como protagonista en la televisión, marcando el debut de Grecia Colmenares en la pantalla chica. La trama está inspirada en las radionovelas Los que no deben nacer (de Félix B. Caignet) y Lágrimas de amor (de Olga Ruilópez).

-Título: Angélica. -Canal: RCTV -Año de emisión: 1976. -Guionistas: Manuel Muñoz Rico (historia original basada en obras de Caignet y Ruilópez). -Dirección: Ulises Brenes. -Protagonistas: Mayra Alejandra como Angélica Rincón su primer rol protagónico, José Luis Rodríguez (“El Puma”) como Daniel Santana. -Antagonista destacada: Pierina España como Reina. -Actriz infantil destacada: Grecia Colmenares debutando como Angélica niña (Rosita Santana).

Los secretos familiares marcan el enredo de dos familias poderosas, los Santana y los Linares:

Daniel, el heredero de los Santana, no es realmente hijo biológico de Marcos, quien intercambió a su bebé con el de una sirvienta para ocultar una deformidad.

Angélica, por su parte, no fue recogida, sino que es la hija legítima del Coronel Ignacio Linares, intercambiada en su infancia.

El destino los reúne y se enamoran; sin embargo, Reina, ambiciosa y manipuladora, lo logra engañar para casarse con Daniel, mientras Angélica, desesperada y embarazada de él, acepta casarse con otro hombre, Norberto.

Años después, ambos se reencuentran cuando ella trabaja como su secretaria. El giro dramático ocurre cuando sus hijos adolescentes, Danielito (hijo de ambos) y Rosita (hija de Daniel con Reina) se enamoran, sin saber su verdadera identidad. Esto pone todo en riesgo, hasta que los secretos salen a la luz y el amor triunfa.

***Angélica representa un melodrama clásico venezolano con:

Triángulo de amor imposible, identidad secreta, traición y redención.

Mayra Alejandra entregó una actuación icónica y su personaje la consolidó como una de las grandes figuras del género dramático venezolano. José Luis Rodríguez ofreció un galán lleno de sensibilidad, y Grecia Colmenares comenzó su carrera con una presencia destacada desde su infancia.

El tema musical, "Angélica (Amor Grande, Amor Libre)", interpretado por “El Puma”, se volvió emblemático de esta telenovela.

Angélica (1976) es una telenovela emblemática del melodrama venezolano clásico: tramas cargadas de emoción, actuaciones inolvidables y un legado que marcó la carrera de sus protagonistas. Además, fue el punto de despegue en pantalla de figuras como Mayra Alejandra y Grecia Colmenares, y consolidó a José Luis Rodríguez como un galán consagrado. Su impacto sigue siendo recordado por los aficionados del género en toda la región.

Bueno mi gente espero que sea de su agrado esta ediciòn y nos vemos en una nueva con mas de las telenovelas Venezolanas que marcaròn una epoca.

Fuente

Siendo sincero, las películas de Marvel ya no son lo que eran, cuando cada título llamaba a todo tipo de público, logrando récords de taquilla. En mi caso, he pasado de Capitan America 4, que ya veré cuando salga en Disney Plus. Sin embargo, este título ya recibido mejor por la crítica y fans, me ha llamado la atención y pude ver hace poco. Recién estrenada, siendo su director Jake Schreier.

To be honest, Marvel movies are not what they used to be, when each title appealed to all kinds of audiences and broke box office records. In my case, I skipped Captain America 4, which I'll watch when it comes out on Disney Plus. However, this title, which has been better received by critics and fans, caught my attention and I was able to see it recently. It was just released, with Jake Schreier as director.

Sinopsis: Personajes de anteriores películas y series de Marvel, como Yelena Belova, Bucky Barnes, John Walker, Ghost y Guardián Rojo, tendrán que formar una alianza improbable debido a la traición de un jefe. A su vez, conocerán a un nuevo personaje llamado Bob, quien al parecer oculta un secreto, y que pondrá, de nuevo, las situaciones al límite.

Synopsis: Characters from previous Marvel films and series, such as Yelena Belova, Bucky Barnes, John Walker, Ghost, and Red Guardian, will have to form an unlikely alliance due to the betrayal of a boss. At the same time, they will meet a new character named Bob, who seems to be hiding a secret, and who will once again push the situation to the limit.

Fuente

Lo interesante, y por comparar con otras películas de la franquicia, es la importancia que le dan al aspecto emocional y mental de los personajes, en donde Yelena y Bob son los que cargan un gran pesar en su vida, un vacío. Si bien las escenas de acción son variadas, no considero que sean lo llamativo del título, sino cómo se sobreponen a ciertos pasados tortuosos.

What is interesting, and in comparison to other films in the franchise, is the importance given to the emotional and mental aspects of the characters, where Yelena and Bob are the ones who carry a great burden in their lives, a void. While the action scenes are varied, I don't think they are the highlight of the film, but rather how the characters overcome their tortured pasts.

Por otro lado, el proceso de formar un grupo de excluidos es siempre divertido, buscando cómo pueden encajar y sacar sus virtudes. No deja de tener el clásico toque cómico de la marca, así que varias risas están garantizadas. Es un prueba y error en ese aspecto.

On the other hand, the process of forming a group of outcasts is always fun, as they try to figure out how they can fit in and bring out their strengths. It still has the classic comedic touch of the franchise, so plenty of laughs are guaranteed. It's a matter of trial and error in that regard.

Fuente

Lo que no queda muy claro es la villana de la historia, ya que se vuelve un tanto intrascendente sus acciones con el final dado. El personaje que trae Bob es interesante pero creo que le faltó mayor despliegue en el uso de sus poderes.

What is not very clear is the villain of the story, as her actions become somewhat inconsequential given the ending. The character Bob brings is interesting, but I think he lacked greater deployment in the use of his powers.

En el aspecto técnico, si hay momentos malos, en que el CGI se nota demasiado. El sonido y la música siempre acompañan bien la historia, aunque le falta una canción icónica, como las que logró los Guardianes de la galaxia. La actuación es aceptable destacando Florence Pugh como Yelena, me gusta su personaje y su trabajo.

On the technical side, there are some bad moments where the CGI is too obvious. The sound and music always accompany the story well, although it lacks an iconic song, like the ones in Guardians of the Galaxy. The acting is acceptable, with Florence Pugh standing out as Yelena. I like her character and her work.

No me queda duda de que Marvel todavía lo tiene difícil para volver a ser lo atrayente que fue, pero este título ha sido un punto positivo, esperemos que sigan en esa senda.

I have no doubt that Marvel still has a long way to go to regain its former appeal, but this title has been a positive step in the right direction. Let's hope they continue on this path.

Calificación personal: 7 de 10.

Personal rating: 7 out of 10.

The 1950s could never be mistaken for the Golden Age of Hollywood Science Fiction when measured against the technological sophistication, expansive budgets, and narrative complexity that the genre would deliver across the subsequent three decades. Compared to the groundbreaking achievements of 2001: A Space Odyssey (1968), the visceral intensity of Alien (1979), or the philosophical depth of Blade Runner (1982), the atomic-age chillers of the Eisenhower era appear quaint, constrained by the practical limitations of their time. Yet this period, marked by palpable Atomic Age and Cold War anxieties that directly inspired many filmmakers, nevertheless produced a number of works that transcended their seemingly humble origins, becoming not only popular entertainment but cultural touchstones that have endured through decades of cinematic evolution.

Among these, one of the most recognisable and enduringly iconic films is Creature from the Black Lagoon, the 1954 science fiction horror film directed by Jack Arnold. While often dismissed as mere B-movie schlock by contemporary critics, this Universal production has gradually earned recognition from scholars and cinephiles alike as an important foundation of the creature feature genre, possessing a visual and thematic sophistication that elevates it above its contemporaries.

The film opens with an unusual prologue that quotes Genesis before transitioning into a scientific narration outlining Earth's geological formation and the evolutionary emergence of life, with special emphasis on the arrival of prehistoric amphibian creatures from oceans to land. The narrative then shifts to the present-day jungles of the Amazon, where Brazilian researcher Dr. Carl Maia (played by Antonio Moreno) discovers a huge fossilised hand with distinctive webbed fingers. Determined to find the rest of the creature's remains, Maia returns to his institute to recruit additional help, leaving two of his men to guard the camp. During his absence, both men are attacked and killed by a mysterious and dangerous humanoid creature which possesses a hand exactly matching the fossil Maia discovered.

At the institute, Maia recruits American ichthyologist Dr. David Reed (Richard Carlson) for the expedition, which is also joined by David's boss Dr. Mark Williams (Richard Denning), colleague Dr. Edwin Thompson (Whit Bissell), and David's colleague and girlfriend Kay Lawrence (Julia Adams). The expedition charters a river boat owned by Captain Lucas (Nestor Paiva) and returns to find Maia's assistant dead. Mistaking the attack for jaguar predation, they continue their journey to a more remote area dubbed the "Black Lagoon," where fossilised remains might have been carried by the river in the past. There, the creature—later christened the "Gill-Man"—begins to stalk them, taking particular interest in Kay. What follows is a series of increasingly deadly encounters during which several members of the expedition perish, forcing the survivors to find ways to defeat what appears to be an amphibious fish-like humanoid monster.

Creature from the Black Lagoon holds a significant historical position as the product of Universal Studios, the very studio that had established itself during the Classic Hollywood period as the undisputed home of iconic horror films. The Gill-Man, as the titular creature became known, is often considered the last of the classic Universal Monsters—a lineage that included Dracula, Frankenstein's Monster, the Wolf Man, and the Mummy. This distinction is not merely chronological; while Universal had dominated the horror landscape throughout the 1930s and 1940s with its gothic monster cycle, the Gill-Man represented a shift toward more contemporary, science-based horror that reflected post-war anxieties about evolution, the unknown depths of the natural world, and humanity's place within the evolutionary chain.

The film's genesis reveals an intriguing cross-cultural inspiration. Producer William Alland, a former actor who had played a reporter in Orson Welles' Citizen Kane, met Mexican cinematographer Gabriel Figueroa. Figueroa shared Amazonian natives' legends about "fish people" called Yacuruna. A decade later, Alland adapted this story into what would ultimately become the screenplay by Harry Essex and Arthur Ross. The timing proved fortuitous, as the 1952 discovery of the coelacanth—a "living fossil" fish thought to have been extinct for 65 million years—lent scientific plausibility to the film's central premise.

On a superficial level, Creature from the Black Lagoon represents almost a textbook example of the "creature feature"—a monster movie in which the titular character was played by an actor in a rubber suit. Countless such films would emerge throughout the 1950s, many of which would soon sink into irrelevance due to unconvincing special effects and later becoming favourite targets of ridicule on shows like Mystery Science Theatre 3000. However, the reason why Creature stood head and shoulders above most of these contemporaries was the superb direction by Jack Arnold. Arnold, who would become recognised as a master of 1950s science fiction cinema thanks to classics like It Came from Outer Space (1953), Tarantula (1955), and The Incredible Shrinking Man (1957), demonstrated remarkable skill in transcending the film's B-production limitations. The film lacked truly big stars and operated on a modest budget, reflected in much of it being shot on studio sets and in black-and-white. Yet Arnold skilfully overcame these constraints through tight script pacing (keeping the film to a lean 79 minutes) and the strategic use of Florida locations, particularly Wakulla Springs, which provided genuinely atmospheric underwater photography.

His most obvious achievement was efficient storytelling and clever building of suspense—Arnold deliberately delays the full reveal of the monster, creating anticipation that culminates in the film's most famous sequence: Kay Lawrence's leisurely swim, unaware that she is being stalked from below by the Gill-Man. This underwater ballet scene, with much of it taking place beneath the surface, represents a masterclass in visual storytelling. Julia Adams (briefly doubled by stuntwoman Ginger Stanley) and Ben Chapman (doubled by stuntman Ricou Browning for underwater sequences) create a sequence of remarkable elegance, mild eroticism, and palpable tension based on Beauty and the Beast archetypes. This sequence established tropes that would later be employed, often more crudely, in more exploitative forms of science fiction and horror cinema.

Arnold also demonstrated considerable wisdom in leaving the ultimate fate of the defeated Gill-Man ambiguous, thus allowing the film to receive two direct sequels—Revenge of the Creature (1955), notable for featuring Clint Eastwood's cinematic acting debut, and The Creature Walks Among Us (1956). The film was originally made as a 3D production, attempting to capitalise on the brief 1950s 3D film fad. However, Arnold's skill ensured the film functions very convincingly as a 2D experience—a necessity as the 3D fad had peaked by early 1954, meaning many audiences actually saw the film "flat”.

The writing is remarkably efficient, avoiding pretensions to profundity while delivering a satisfying combination of adventure and horror. The conflict between David and Mark over whether to capture the Gill-Man for scientific study or destroy it as a threat, along with the film's conclusion, can be retrospectively interpreted as containing proto-environmentalist messaging—a recognition of humanity's destructive intrusion into natural habitats. The acting, while not featuring major stars (with the possible exception of Julia Adams, whose performance as Kay Lawrence became iconic), is uniformly solid. Spanish silent-era veteran Antonio Moreno provides gravitas as Dr. Maia, while prolific character actor Whit Bissell delivers thoughtful performances that would later earn him recognition as the station manager in Star Trek's classic The Trouble with Tribbles episode.

Creature from the Black Lagoon proved to be remarkably successful, memorable, and iconic, becoming the subject of numerous homages and references throughout popular culture. Stephen King notably used the Gill-Man as one of the incarnations of the shape-shifting monster Pennywise in his 1986 novel It. Perhaps the most significant homage came from Steven Spielberg's 1975 classic Jaws, which carefully adopted many elements of Arnold's film—narrative structure, atmosphere, plot taking place on a boat, even matching the same body count. Most notably, Spielberg directly referenced the swimming scene for his effective opening sequence.

Among filmmakers inspired by the film, Mexican director Guillermo del Toro stands out as having been deeply impressed by Arnold's work during his childhood. Del Toro has long viewed the plot from the Gill-Man's perspective, imagining a romantic connection between the creature and Kay Lawrence. His attempts to remake the film in this manner were rejected by Universal, but his vision eventually found expression in the 2017 film The Shape of Water, which earned him the Academy Award for Best Director.

In the broader context of cinematic history, Creature from the Black Lagoon represents a fascinating intersection of post-war anxieties, scientific curiosity, and Hollywood craftsmanship. While constrained by the technological and budgetary limitations of its era, Jack Arnold's direction elevated what could have been just another disposable B-movie into a work of enduring visual and thematic power. Though products of their time, the best 1950s science fiction films like Creature from the Black Lagoon transcend their era not through technical prowess but through the universal human fears and fascinations they tap into—the fear of the unknown, the allure of the other, and the recognition that sometimes the real monster is humanity itself.

RATING: 7/10 (+++)

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The 80s and 90s were an odd period for science-fiction disaster films around Eastern Europe. The Cold War was still ongoing and fears of nuclear escalation remained as strong as ever. Many of these films ended up coming from Russia, some of them incredibly unsettling. I assumed I had seen pretty much all of what this genre offered, until I stumbled across this film of a relatively odd title: O-Bi, O-Ba. A Polish film which takes place after a nuclear strike which reduces many to the mountains, into a bunker where the future remains as bleak as ever. Where the damp concrete environment tests the sanity of those who survived the strikes, where above is a land scorched and uninhabitable. And to no surprise: those who remain within the depths of the mountain fall into the fundamental flaws of society. Where politics and anxiety connect.

Now, I haven't seen many Polish films before, I think the total sum can be counted on just one hand, actually. So this was a film that stood out to me not just from the themes, but also the nation it came from. Another which directly saw the fears that arose from the Cold War. The nation still rather connected to its Eastern partner, significantly more so than today's current conditions where it relies heavily on its new western partners. To see a film from the perspective it had back then shows the stark contrast in how much the nation has grown and shifted in its ideology within the past forty years, with the film's release in 1985. Just six years before the collapse the Soviet Union, where between 1989 and 1991 its surrounding nations would also follow in independence, creating an even more uncertain present and future for the region.

Much like the films of similar era and concept, O-Bi, O-Ban carries with the reliance on unique types of film stock and lighting to set the environment. Strong blue tones which show the cold, damp and concrete surroundings that disconnect them from the previous green and colourful world they once knew above. It shows the disarray and decay of the vault that they survive in, where they don't have the ability nor materials to maintain it and prosper as survivors going into the new world. And people within treat each other live savages. This vault being more inhumane than the scorched Earth above. To add, the film loves its used of close up perspectives to show the faces of those within the vault. Many old and weathered. Sometimes the camera moving throughout the rooms to show a dreamy, though rather more nightmarish feeling to it all.

Dystopian beyond this, the film displays the poor tunnels in which people live in rags. Though a speaker playing propaganda above that speaks on how they are the future of humanity. That only they can build and produce the next generation. The disconnect visible with how people hold their heads low to the ground. I liked this aspect of the film, showing the more realistic portrayal of how people would react being confined to damp tunnels and dim lighting. Where there's nothing to do beyond stand around. The whole film really crafted a depressing world. And this is without much mention of the nuclear war that propelled society into this state. If anything, it speaks on how it was always present. That nastiness always lingering around in some way or another. With the class issues that keep people down in poverty while telling them to grow out of it, knowing full well it isn't possible.

Regarding the narrative, it's a bit of a weird one, much like the similar titles of the genre. Though the most impressive thing here is the film's cinematography. The use of atmosphere and lighting was really creative for the type of film it is. In some ways it reminded me of that New Wave Hong Kong style, where there are strong neon lights in the surroundings which become the more dominant colour within the shot. And here it's mostly blues and greens. Cold tones, ones that don't seem comfortable or natural. Some of the perspectives and the way it uses light and silhouettes were really creative, especially with the addition of 35mm film stock. Really showing that dystopian, end of the world feeling. This is definitely not a film for everyone, though. A bit long. A bit experimental. Though certainly visually impressive.

Well-being Above All Else or True Love?

¿Bienestar Ante Todo o Amor Real?

La directora Celine Song sin duda alguna dejó la vara muy alta con Past lives, una increíble película que trabaja temas como las almas destinadas a estar juntas o reencontrarse y, obviamente, el amor, una película con increíbles tomas, diálogos que hacen pensar mucho sobre la perspectiva de las cosas y a veces expresado con tan pocas palabras pero en esta ocasión viene con, aunque con una historia de amor, un enfoque un tanto distinto al de su primera película. Amores Materialistas es lo nuevo de Celine Song en este año 2025 y aunque se llevaron una sorpresa para mí fue algo diferente.

Como siempre, les advierto que tendremos algo de spoilers a lo largo del post, quizás no todo tendrá spoilers pero igual les hago la advertencia para que lo tengan en cuenta y no digan que no se los advertí. Como ya es lema para de este lado, lo primero es saber sobre qué va Amores Materialistas, o Materilists.

La película nos presenta a Lucy, una casamentera, persona cuyo trabajo es encontrar personas que se adapten a los requerimientos de sus clientes para formar parejas. En la película Lucy se verá en la obligación de decidir entre los bienes materiales y una vida con amor real. La película no presenta una trama del otro mundo o algo completamente revolucionario, aparte de que la directora vuelve a trabajar casi el mismo tema en su segunda película, solo que esta vez con un enfoque y perspectiva completamente diferentes.

Amores Materialistas es una película que algunas partes alcancé a ver que la clasificaban como una comedia romántica, lo cual no veo que tenga nada de comedia o quizás sea el hecho de formar como una especie de sátira camuflada para todo este tema de las relaciones y como actualmente un gran sector de la sociedad basa sus “argumentos” para formalizar una relación. No es voy a mentir, Amores Materialistas me la puso un poco complicada para buscar un tema detrás de la historia porque mientras la veía era como si le intentase agarrar la vuelta pero no lo lograba.

En el mundo de Amores Materialistas, me da la impresión de que la directora quiso “exponer” el cómo se forma una relación en la actualidad y los “requisitos” que se piden para una persona pueda salir con otra, como si se estuviera tratando de una transacción y agrego esto justo porque la película lo mencionan y muchas veces lo dicen de esta forma. Pero antes de seguir tratando el tema detrás de la película me gustaría resaltar lo varios aspectos como es de costumbre.

Visualmente, Celine Song hace un trabajo espectacular como lo hizo con Past Lives y es que el director de fotografía en ambas películas en el mismo, tiene una estética que me dejó a gusto con el primer filme de la directora y su equipo de trabajo que lo hice haciendo en este segundo filme. La forma que tiene Song de presentar escenas donde solo encuadra a los protagonistas y todo a su fondo esta desenfocado me cautiva simplemente, y es que logra darme esa sensación de que el mundo no se detiene fuera de ese plano. Una escena donde le están dando un tiempo libre a Lucy de su trabajo como casamentera deja ver esto que eles acabo de comentar hace un momento, no es que de un momento a otro entran las demás chicas a celebrar así como así, sino que de fondo se logra apreciar como todo ese montaje se está armando para dar paso a esa celebración unos minutos después.

Los actores por su parte hacen un buen trabajo, aunque a la vez me espere un poco en las interpretaciones quizás, no estoy diciendo que lo son sepan hacer porque claramente son personas que tiene años trabajando en esto y son profesionales en lo que hacen pero, a la vez siento que le faltó algo, como si podrían haber dado más en la película pero se limitaron un poco al hacerlo.

La película trata el tema de las relaciones como búsquedas exquisitas donde solo aceptas salir con quien cumple tus requisitos y exigencias sino no es un buen candidat@, aunque muchas veces puede que esa persona que cumple con todos tus requisitos no sea la indicada para ti, como lo vemos en el caso de Sophie. Punto clave de la película es que plantea el valor que tiene una persona por lo que posee o por lo que está dispuesta a ofrecer más allá de lo material, vivo ejemplo de eso son John y Harry.

La película te hace reflexionar sobre si está bien elegir la estabilidad para tu vida a nivel material y de posesiones sobre el amor verdadero, ambos puestos sobre la balanza, pero solo uno será ganador al final del camino ¿Es mejor elegir a la persona que brinda apoyo material y económico o luchar por un mejor bienestar junto al amor de tu vida? Este tipo de preguntas son las que se generan al terminar la película y creo que el punto al que la misma quiere llegar, la verdadera respuesta ya dependerá de cada quien.

En términos generales, Amores Materialistas no es un película de otro mundo, sí es entretenida por el hecho de presentar esta perspectiva de ver la cosas y generar algo de debate y logras verla con alguien más pero más allá de eso me atrevería a decir que Past Lives dejó el listón muy alto para próxima historia tratando el mismo tema así sea que un enfoque distinto, Past Lives es el punto de referencia a superar en un próximo proyecto del mismo estilo.

Se las recomiendo si tienen la curiosidad de ver la película, aunque tampoco se estarían perdiendo de algo exageradamente relevante, les resultaría mejor si la ven en compañía. Como siempre, les invito a dejar sus opiniones para así poder intercambiar ideas sobre el filme y saber que les parecía a ustedes. Si llegaron hasta este punto, me gustaría agradecerles por tomarse el tiempo de leer este post, sin más que agregar, hasta una próxima ocasión. Muchísimas gracias y saludos para ustedes.

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Hola amigos cinéfilos de Movies & Tv, espero que se encuentren muy bien ✨. El día de hoy quiero compartir mi reseña de una película no tan conocida o al menos no que yo recordara, se llama Ingrid Goes West y cuenta una historia bastante real sobre la presión por querer encajar dentro del mundo de las redes sociales y cómo podemos llegar al punto de obsesionarnos con la vida "perfecta" que vemos en otros. Realmente no le tenía fe pero fue una película que me dejó impresionada y con la idea de que no es bueno dejarse llevar por el titulo o la portada de una película. Así que los invito a leer mi reseña de Ingrid Goes West 👀.

Hello Movies & Tv movie buff friends**, I hope you are doing great ✨. Today I want to share my review of a movie not so well known or at least not that I remembered, it's called Ingrid Goes West and it tells a pretty real story about the pressure of wanting to fit in the world of social media and how we can get to the point of obsessing over the "perfect" life we see in others. I didn't really have faith in it but it was a movie that left me impressed and with the idea that it's not good to get carried away by the title or the cover of a movie. So I invite you to read my review of Ingrid Goes West 👀.

La trama nos cuenta la historia de Ingrid (Aubrey Plaza) una joven que en los primeros minutos de la película muestra una actitud bastante extraña y una obsesión por una vieja amiga, todo esto le genera tantas emociones que al final producto de sus propios impulsos termina en un hospital psiquiatrico donde pasa un tiempo en el que cree realmente que ha mejorado y que podría su vida ser diferente esta vez o tal vez no... Al volver a la vida normal, después de encontrarse en su vieja casa donde vivia con su madre quien falleció producto de haber estado muy enferma, se da cuenta de que en un sobre su mamá le dejo una gran cantidad de dinero, que será usado para su próxima obsesión, al conocer a una joven que le genera el impulso de querer estar cerca de ella o ser ella completamente.

The plot tells the story of Ingrid (Aubrey Plaza) a young woman who in the first minutes of the film shows a very strange attitude and an obsession for an old friend, all this generates so many emotions that in the end product of her own impulses she ends up in a psychiatric hospital where she spends some time where she really believes that she has improved and that her life could be different this time or maybe not. When he returns to normal life, after finding himself in his old house where he lived with his mother who passed away because she had been very sick, he realizes that in an envelope his mother left him a large amount of money, which will be used for his next obsession, when he meets a young woman who generates the impulse to want to be close to her or to be her completely.

La historia es realmente divertida aunque muy turbia, vemos a Ingrid luchar con sus propios pensamientos y emociones, con las ideas de lo que se proyecta a través de una red social y con su gran deseo de sobresalir o ser vista por primera vez en la vida. Todo el drama se enfoca en su búsqueda por la red social Instagram donde consigue a una joven como ella que resulta más interesante, popular, bonita y con cualidades que ella no cree tener. Entonces comienza la obsesión y empieza a buscar más información de esta joven llamada Taylor Sloane (Elizabeth Olsen) quien muestra una parte de su vida, realmente la parte que se ve más bonita o maravillosa mientras que realmente Ingrid no conoce del todo la historia y la vida de Taylor.

The story is really funny although very murky, we see Ingrid struggle with her own thoughts and emotions, with the ideas of what she projects herself through a social network and with her great desire to stand out or be seen for the first time in life. All the drama focuses on her search through the social network Instagram where she gets a young woman like her who happens to be more interesting, popular, pretty and with qualities she doesn't think she has. Then the obsession begins and she starts looking for more information about this young woman named Taylor Sloane (Elizabeth Olsen) who shows a part of her life, really the part that looks more beautiful or wonderful while really Ingrid doesn't know at all Taylor's story and life.

La forma en la que desarrollan el drama dentro de las ideas que tiene Ingrid sobre querer tener una vida perfecta es realmente alucinante, te das cuenta de que hay más personas dentro de estas redes que muestran una versión totalmente maquillada de lo que son o lo que hacen con sus vidas. Es algo que se sabe pero que afecta más de lo que se cree, dónde te encuentras incluso pensando que tu vida no es realmente tan valiosa como la de los demás o que no estás viviendo lo suficiente. Ingrid por supuesto tiene problemas psicológicos que la llevan a meterse en un bucle de obsesión que no la deja pensar más allá de su propio deseo de encajar en el mundo.

The way they play out the drama within the ideas Ingrid has about wanting to have a perfect life is really mind boggling, you realize that there are more people within these networks that show a totally made up version of who they are or what they do with their lives. It's something you know but it affects more than you think, where you find yourself even thinking that your life isn't really as valuable as everyone else's or that you're not living enough. Ingrid of course has psychological problems that lead her to get into a loop of obsession that doesn't let her think beyond her own desire to fit into the world.

La actuación de Aubrey Plaza es simplemente increíble, puedes ver su descenso entre las ideas normales hasta las más desquiciadas con tal de mantener su red de mentiras para acercarse a Taylor y fingir una vida que no le pertenece. Hay escenas intrigantes donde podemos ver el efecto que tienen las redes en los más jóvenes y en aquellos que realmente están buscando información para fingir ser alguien más. Da hasta miedo ver parte de la película por lo real del mensaje que nos muestran y que al final no es más que ver a un ser humano sumergido en un mundo superficial donde va perdiendo la cordura poco a poco. Aubrey lo hizo increíble, nunca había visto ningún trabajo de ella y me encantó su actuación en esta película.

Aubrey Plaza's performance is simply amazing, you can see her descent between normal ideas to the most unhinged ones in order to maintain her network of lies to get closer to Taylor and pretend a life that doesn't belong to her. There are intriguing scenes where we can see the effect the networks have on the younger ones and those who are really looking for information to pretend to be someone else. It's even scary to watch part of the movie because of the real message we are shown and that in the end is nothing more than seeing a human being immersed in a superficial world where he is losing his sanity little by little. Aubrey did amazing, I had never seen any of her work and I loved her performance in this movie.

Dirigida por Matt Spicer y protagonizada por Aubrey Plaza, Elizabeth Olsen, O’Shea Jackson Jr. entre otros actores, podemos ver una mezcla de humor negro con mucho drama e incluso suspenso, nada de lo que ves realmente lo esperas venir, la película tiene una duración de una hora y media y es más que suficiente para mostrar la realidad del uso de las redes y la falta de salud mental en las personas que hay detrás de una pantalla. Vemos clips donde aparecen publicaciones de Instagram y a la vez la cara de Aubrey Plaza con una total distorsión de lo que es tener una vida normal y querer ser otra persona a costa de lo que sea incluso de su propia estabilidad mental.

Directed by Matt Spicer and starring Aubrey Plaza, Elizabeth Olsen, O'Shea Jackson Jr. among other actors, we can see a mix of black humor with a lot of drama and even suspense, nothing of what you see you really expect to come, the film has a duration of an hour and a half and is more than enough to show the reality of the use of networks and the lack of mental health in people behind a screen. We see clips where Instagram posts appear and at the same time Aubrey Plaza's face with a total distortion of what it is to have a normal life and want to be someone else at the cost of anything even her own mental stability.

Se que probablemente hay muchas películas de este estilo donde muestran la realidad de el mal uso de las redes sociales o la obsesión por saber la vida de otros a través de ellas, pero está película dentro de todo lo turbio y oscuro que tiene me dejó con la sensación de haber visto una gran película, me gustaron las actualizaciones y la estética de la misma, siento que más personas deberían verla sobre todo si les gustan los actores que aparecen en ella y este tipo de géneros donde la realidad puede llegar a ser muy intrigante y perturbadora, además de que también podemos aprender de la psicología de los personajes y de la trama. Si alguna vez la vieron quisiera que me dejaran un comentario sobre que les pareció está película y si no les sugiero que la vean, está bastante buena la historia 😲👀.

I know there are probably many movies of this style where they show the reality of the misuse of social networks or the obsession to know the lives of others through them, but this movie within all the murky and dark that has left me with the feeling of having seen a great movie, I liked the updates and the aesthetics of it, I feel that more people should see it especially if they like the actors that appear in it and this type of genres where reality can become very intriguing and disturbing, plus we can also learn from the psychology of the characters and the plot. If you ever saw it I would like you to leave me a comment about what you thought about this movie and if not I suggest you to watch it, the story is pretty good 😲👀.

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