Greetings, film lovers.

Living in Boa Vista, Roraima, I became interested in Brazilian cinema and, when looking for something to watch, I decided on the iconic film City of God (Cidade de Deus). I was able to watch it from the comfort of my apartment, and the experience was powerful. The film impressed me with its semiotics and the realism with which it portrays life in the favela of the same name, located in the western part of Rio de Janeiro.

From the very beginning, I feel the harshness of an environment where football is intertwined with violence and death. Human misery is an everyday occurrence, and hope seems to be absent in a scenario of constant war between children and teenagers, as shown in the film.

Released in 2002, the film was directed by Fernando Meirelles and Kátia Lund, with a screenplay by Bráulio Mantovani based on the novel by Paulo Lins, who grew up in the favela where the story takes place.

The title, City of God, creates a brutal contrast: the name evokes a sacred and heavenly place, but the film shows the opposite, a hell on earth where violence, crime and hopelessness are the norm. This film captivated me because it is a vivid reflection of the social reality of Rio de Janeiro, where violence and drugs take over every corner.

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I was captivated by seeing it in Portuguese, and I found it fascinating that the actors seemed to come from the favela itself. Their authenticity gives the film a special touch, very different from what you see with actors from theatre schools.

The semiotics in City of God are rich and complex, and are manifested in the way images, sounds, dialogue, editing and the setting of the favela itself are combined. For me, the film achieves such a raw construction of reality that it completely immerses you in the lives of its characters. Semiotics are mainly addressed through three elements: violence, identity and urban space.

1. Violence as a sign of identity and social control. Violence in the film is not just an action, but a language, a sign of power and status. Weapons, shootings, and murders are symbols of the struggle for control and survival. The film presents violence as something everyday, almost normal. Seeing children getting involved in crime at a very young age and death as part of everyday life is a brutal representation of social decay.

2. The favela as a labyrinth with no way out. The film conveys a feeling of suffocation, of the characters being trapped in a cycle of violence from which it is almost impossible to escape. The opening scene of the chicken running away but ultimately being caught can be interpreted as a sign of this endless cycle and the difficulty of finding a way out. In this sense, the film's semiotics highlight the dehumanisation and struggle for survival in Brazil's urban peripheries.

3. The realism of the set design and atmosphere. The film was shot on location in the favelas of Rio de Janeiro to capture the essence of life in these neighbourhoods. The directors, Fernando Meirelles and Kátia Lund, wanted the settings to be another character in the story, reflecting social deterioration over time. To achieve this authenticity, many of the actors were non-professionals who lived in the favelas themselves, which contributed to a faithful representation of the context.

4. The role of costumes, make-up and music. The costumes show the social evolution of the favela. The clothes imitate Rio's street fashion trends, and gang members are distinguished by their clothing, which reflects their adaptation to an environment of heat and constant conflict. Music, meanwhile, is fundamental. The soundtrack encompasses genres such as samba, which connects with cultural roots, and bossa nova, which provides historical context. In addition, an original score is used that mixes traditional percussion with electronic rhythms to generate a sense of chaos and tension, which characterises the most dramatic moments.

5. The colour palette and its narrative. The colour palette is one of the film's most powerful tools for narrating the passage of time and social degradation. The film evolves from warm tones (yellows, browns and oranges) in the early scenes, which evoke a sense of innocence and community, to cold, desaturated tones (blues, greys) at the climax, reflecting hopelessness and a lack of future. Each change in tone is a visual cue that intensifies the viewer's emotions and signals the worsening social and moral situation in the favela.

6. The acting: an exceptional achievement. One of the film's greatest successes was its use of non-professional actors, many of whom lived in the favelas. Their lack of previous experience gave them a striking naturalness. Their reactions and dialogue feel genuine, as many were portraying realities they knew first-hand. The improvisation in many scenes gave the film a unique dynamism and energy.

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City of God transcends the boundaries of traditional cinema, offering a raw and moving window into a reality that it manages to capture with impressive creativity.

To conclude the narrative of this piece, City of God is a masterpiece of Brazilian cinema that has left an indelible mark on the history of world cinema. Through a raw and uncompromising narrative, the film immerses me in the complex reality of the favelas of Rio de Janeiro, exploring themes such as violence, poverty and the struggle for survival.

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The film stands out for its authenticity, achieved through the use of real locations, the participation of non-professional actors and a script based on real events. The film's semiotics, visible in the colour palette, music and depiction of violence, enrich the narrative and allow for a profound reflection on dehumanisation and the cycle of crime.

The development of film production in the favela is a monumental creative event in Brazil.

The film made me reflect on my own experience in Boa Vista and led me to ask myself:

What is a favela really? How does it differ from neighbourhoods in other Latin American countries? It is a work that not only entertains, but also leaves me thinking, analysing social reality with a more critical and empathetic eye.

Grateful for being and living in the favela of God.

Spanish

Portada Ragnarok

Hey mi amigos, un saludo a todos! Les comparto una pequeña reseña de la serie Ragnarok, ésta serie la ví en Netflix hace unas semanas, esta serie Noruega salió al público en el año 2020, se trata de una trama que engloba la mitología nórdica, dirigida por Mogens Hagedorm y Jannik Johansen.

Según la serie, Edda que es un pueblo Noruego actualmente quedado en el olvido, fue el protagonista de una batalla entre Dioses y Gigantes en la mitología Nórdica hace muchos años atrás, y a este pueblo se Muda Magne con su familia (Madre y hermano), Magne es un adolescente con dislexia, con un gran corazón pero de comportamiento difícil, y algunos problemas de ira. Su hermano Lorits es más independiente, muy inteligente y perspicaz, y ambos entran juntos a clases.

Protagonistas

En su primer día de clases, Mange conoce a Isolde quien tiene un interés particular por el medio ambiente y los glaciares, por lo que se hacen amigos. Aún así, una serie de eventos lleva a Magne a experimentar cosas nuevas, tiene más fuerza física, ya no necesita lentes para leer porque su vista se agudiza, entre otras cosas. Inesperadamente Isolde muere, pero esa pérdida marca a Magne de por vida, generando una herida difícil de sanar y dispuesto a llegar al fondo de su fallecimiento, se desencadenan una serie de sucesos inexplicables, dónde se hace presente la imagen de Thor (el Dios trueno), representando a Magne, pero ¿Podrá magne manejar la responsabilidad de ser el Dios trueno?, ¿Sus problemas de ira influirán positiva o negativamente en sus decisiones?

En mi opinión, sin hacer spoiler, es una serie que siento que le faltó algo de chispa, sentí que estaba esperando un poco más de acción, Magne se presenta como un chico con cambios de humor, un tanto problemático, muy parecido a la inestabilidad y el temperamento del Thor real, el antiguo Thor de la Mitología Nórdica, aún así la serie está enfocada en la actualidad y le da otro punto de vista, quiza por eso no era lo que esperaba, existen otros personajes pero lo ideal es que con el desarrollo de la trama los vayan descubriendo, aún así me gustó y el final pues te deja un poco loco.

Si la viste o gustas verla pues acá te dejo mi pequeña reseña y mi opinión, y puedes dejar con gusto un comentario ❤️ nos leemos pronto por ésta comunidad con la próxima serie, película o programa, un abrazo 🤗

English

Cover Ragnarok

Hey, my friends, greetings to all! I'd like to share a short review of the series Ragnarok, which I watched on Netflix a few weeks ago. This Norwegian series was released in 2020 and is based on Norse mythology, directed by Mogens Hagedorm and Jannik Johansen.

According to the series, Edda, a Norwegian town that has now been forgotten, was the site of a battle between gods and giants in Norse mythology many years ago. Magne moves to this town with his family (mother and brother). Magne is a teenager with dyslexia, a big heart, but difficult behavior and some anger issues. His brother Lorits is more independent, very intelligent, and perceptive, and the two attend classes together.

Main characters

On his first day of school, Magne meets Isolde, who has a particular interest in the environment and glaciers, and they become friends. However, a series of events leads Magne to experience new things. He has more physical strength and no longer needs glasses to read because his eyesight has improved, among other things. Unexpectedly, Isolde dies, but that loss marks Magne for life, creating a wound that is difficult to heal. Determined to get to the bottom of her death, a series of inexplicable events are triggered, where the image of Thor (the God of Thunder) appears, representing Magne. But can Magne handle the responsibility of being the God of Thunder? Will his anger issues influence his decisions positively or negatively?

In my opinion, without giving away any spoilers, it's a series that I feel lacked a certain spark. I felt like I was waiting for a little more action. Magne is presented as a boy with mood swings, somewhat problematic, very similar to the instability and temperament of the real Thor, the ancient Thor of Norse mythology. Still, the series is focused on the present and gives another point of view, which is perhaps why it wasn't what I expected. There are other characters, but ideally, they will be revealed as the plot develops. Even so, I liked it, and the ending leaves you a little crazy.

If you've seen it or would like to see it, here's my little review and opinion, and feel free to leave a comment ❤️ See you soon in this community with the next series, movie, or show. Hugs 🤗

The horror genre is always generating buzz whenever a film comes out and becomes part of people's conversations. There are two currently, Weapons and Together. Today I'll talk about the latter because I haven't had the chance to go to the theater. Horror is controversial because I feel there are no gray areas in it; you either like it or you don't, it's that simple. And if we add to that the fact that there are several branches within it, it gets even more complicated. The one that almost always works is body horror, as long as it's well done, meaning its effects convince the viewer. Together falls into this category, and while it has some gaps in its plot, I think the result was decent.

A couple, or two people who are together because the term "couple" isn't very clear, made up of Dave Franco and Alison Brie, decide to leave their city life behind to go to the countryside to try to connect and make things flow better. They stay in a very typical rural house where everything seems to be in order, but in reality it isn't. That place hides a secret that they will soon discover. Taking a walk through the forest near the house, they begin to realize that there are things that don't fit, bells everywhere that clash with the environment; this, instead of scaring them, only caught their attention.

They pay a high price for that curiosity, as they end up falling to the bottom of a cave, which isn't really a cave at all, but something more. They spend some time there due to a storm, and during that time, strange things begin to happen to their bodies, things that would have been far from gone once they left. The plot actually begins when they leave the cave. What we see beforehand is a bit of context to understand who they are, which makes the film a bit slow at first. But after that experience, we can say that this couple's lives change forever. If you ask me what was in that cave, I honestly don't know, but it unleashes a wave of strange "supernatural" activities.

The beauty of body horror is that it's creepy, that it makes you uncomfortable to watch, and fortunately we see that here, thanks to the good visual effects. Given the kind of things that happen, I think it was very difficult to do and make it look good, but the truth is that if it's done well, I can guarantee that at some point, with a scene, you'll squirm. Add to that a couple of very interesting and unexpected jump scares. It's not a ghost story, but adding something like that adds a lot. The film isn't boring; as I said, it may be a bit slow at first, but then the intrigue slowly grows due to the need to know what's really going on.

For me, the only bad thing was the lack of context for why everything happens. There's a reason, a very murky one, to be sure, behind everything that happens to this couple, but the film doesn't bother to explain it, and that creates a kind of emptiness, as if everything just happens and that's it. A little more depth about all that would have been really cool, but it didn't happen. I'm not saying the film was about that, but I do want us to at least learn a little more, or at least about one of the characters involved in the film.

Ultimately, this film is about love, the dependence we can create on another person to the point where it all becomes a toxic topic within a relationship, and unresolved past traumas. All of this serves as glue, never better said, for what ultimately happens. Both actors perform very well. Dave and Alison have excellent chemistry, and they nailed it when it comes to showing off their best skills in the horror scenes. I give it a 7.5/10. It's a good horror film, entertaining, different, with very good effects, and the acting was up to par. I'll leave the trailer below.

Watching Into the Badlands, the first time around, I did not have a clear idea on what the show entailed. The hint of deep battle, pain, and survival was already presented by the poster, and indeed, the series brought all these and much more.

The movie is not just like any ordinary films I have watched. It is a combination of martial arts, survival, betrayal and the everlasting pursuit of freedom within a world that feels broken and unrewarding in so many ways. When I was watching this as a Nigerian woman I identified with the aspect of fighting regardless of what you are going through in life.

The plot is that, in some weird future theres no guns, only knives, swords and martial arts. People live with strong rulers known as Barons and these Barons own land, money and the lives of ordinary people. The thing I found to be really heartwarming in the movie is the fact that only the strong survive and mercy is so seldom. The world is cruel and it is the fittest that survives. However, even in such a heartless world people strive to live in freedom, peace, and a better life.

The protagonist who is Sunny is a warrior who has fought numerous battles. His eyes reflected the weight with which he had to cope since the inauguration. He is faithful to his Baron, but deep inside him, he is bored of killing. He has a different life that he desires to have and brings to other people around him. I always admired his strength, but more than that, I admired his humanity. We may believe that such strong people never feel pain, but the Sunny story teaches us that even the strongest warriors are slaves of the invisible wounds.

There is one thing that I really adored about Into the Badlands and which is the fighting scenes. I have never witnessed such pretty action, as a kind of dance almost. The martial arts are quick, swift and stunning. All the fights entailed some emotion, not violence. Sometimes, I would be clapping as if I was in the theatre yet I was in my home. The dance, the slowness of the proceedings, the thud of swords being clashing against each other, it was art. It also taught me that fighting isn't only about being strong; it is also about being skillful, patient and being focused.

The deeper story that really tugged at my heart was the following one. It is not a simple battle against the enemies with swords in which Sunny runs around. It is destiny versus destiny He wants to get out of the Badlands and get some peace, but the world keeps pulling him right back into war. It brought images of how our lives are at times. We want to go forward, to become happy, but circumstances continually come to blow things up. Nevertheless, as with Sunny, we need to remain fighting to the end.

I also liked the theme of betrayal. In the badlands, trust is near to impossible. People change their affiliations in a matter of night and time and loyalty can be severed by avarice. This reminded me of the society we live in where people betray each other so that they can get higher. However, despite all the dark moments, there were still times of love, care and sacrifice. That kind of balance was real and cogent to the story.

The poster of the kneeling man with the sword puts it so well, it is not only about the war but also about giving up, suffering, and strength to stand back up. I could tell the burden of every choice that Sunny had to make. The expression Fight to the End never left me.

The other thing that I observed in the movie is that the movie intertwines culture and philosophy. The story contains a lot of lessons. As an illustration, absence of compassion destroys everything with power. Love can provide strength and at the same time weakness. There is a payment to be made after every decision and the payment can be greater than we anticipate. This made me really examine my life, and the choices I make.

The performance was good, the attire was to die for and the scenery was breathtaking. The Badland world appeared to be dangerous but at the same time attractive in some strange way. It demonstrated that there was such a thing as a beauty and cruelty that existed together. The music was so much more emotional as well. There were instances that I almost cried not through sadness, but because of how the story moved the soul.

Finally, Into the Badlands is not a mere serial with fighting elements. It is the tale of survival, liberty and the human spirit. It has taught us that no matter how bad life becomes we should continue to push on. The path that we see Sunny takes replicates our lives as well. We have battles within us but it only counts that we go on till the end.

As a Nigerian woman watching this I was inspired. Our lives may not be as rough as the Badlands but we struggle too on a daily basis. The lesson of inspiration to be courageous, persevere to the end and be hopeful is one that I will always remember. Indeed into the badlands is not just a mere show. It is a reminder that despite us living in a brutal world we can still uphold the hope of humanity and continue on until we have our breakthrough.

Greetings, movie and series lovers! 🎥

¡Saludos, amantes del cine y las series! 🎥

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Created with Canva Pro. Image source

Hello everyone, I hope you're all doing well, friends of Movies and TV Shows. This time I want to talk about a movie that I recently rewatched. Today I'll give you my opinion on: Midsommar. When I first saw it, I didn't know how to feel. Is that good? Or terrible? Can you remember Ari Aster? The director of Hereditary, right? (The Devil's Legacy, for some). Well, this is the director, and after he blew my mind, well, I had sky-high expectations, you know what I mean? And Midsommar... let's see, it delivered, of course it delivered, but in a... different way, I don't know how to explain it... it removed the supernatural seal and focused on the culturally strange, the psychologically uncomfortable... Let's see, what's it about? Well, it's the story of a group of American friends, including our main character, Dani, and her boyfriend Christian (who are already kind of in bad shape, to be honest)... the fact is that they decide to go with their Swedish friend, Pelle, to his town for a super crazy summer festival, one of those they have every 90 years! Imagine... all this happens right after a family tragedy happens to Dani... but it's terrible!

I mean, the beginning of the movie hits you really hard, it leaves you frozen and it already shows you how her character is going to feel, and Florence Pugh, wow! The actress who plays Dani... She's incredible! She's spectacular, really, you don't believe all the anxiety, the depression, that need she has for someone to support her, she's the heart of the movie, her whole thing, her trauma and how she deals with it (or how she doesn't deal with it), is what keeps you glued to the screen, even when things get... really, really weird!

Hola a todos, espero que estén bien, amigos de Movies and TV Shows, en esta ocasión les quiero hablar de una película que volví a ver hace poco está película, hoy les daré mis opiniones de: Midsommar. Cuando la ví por primera vez, no sabía ni cómo sentirme, ¿y eso es bueno? ¿O malísimo? ¿Ubican a Ari Aster? El director de Hereditary, ¿no? (El Legado del Diablo para algunos). Bueno, este es el director, y luego de que me volará la cabeza, pues yo iba con las expectativas hasta el cielo, ¿me entienden? Y Midsommar... a ver, cumplió, claro que cumplió, pero de una forma... distinta, no sé cómo explicarlo.. quito el sello de lo sobrenatural , y se enfocó en lo raro culturalmente, lo incómodo psicológico.. A ver, ¿de qué va? Pues es la historia de un grupo de amigos gringos, ahí van nuestra prota, Dani, y su novio Christian (que ya andan medio mal, la verdad).. el caso es que deciden irse con su amigo sueco, Pelle, a su pueblo para un festival de verano súper loco, de esos que hacen cada ¡90 años! Imagínense.. todo esto pasa justo después de que a Dani le ocurre una tragedia familiar... pero ¡terrible!
O sea, el inicio de la peli te pega durísimo, te deja helado y ya te marca cómo va a estar el personaje de ella, y Florence Pugh, ¡wow! La actriz que hace de Dani... ¡Lo hace increíble! Está espectacular, de verdad, de crees toda la ansiedad, la depre, esa necesidad que tiene de que alguien la apoye, es que ella es el corazón de la película, todo su rollo, su trauma y cómo lidia con eso (o cómo no lidia), es lo que te mantiene ahí pegado a la pantalla, incluso cuando la cosa se pone... ¡bien, bien extraña!

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And to say "weird" is an understatement, really! This place, Hårga... just imagine, it looks like something out of a fairy tale, but a twisted one, or as if an IKEA catalog had gone crazy. Everything is perfect: green fields, blue sky, people dressed in immaculate white with embroidery, flowers everywhere... a beauty that you won't believe, too beautiful to be true... that's what's brilliant and what scares you about the film. This director, Aster, manages to make you feel fear, terror! But in broad daylight... with the sun beating down so hard, forget about the darkness, the easy scares that make you jump out of your seat, here, daylight, the beauty, that's what's scary!

It's the weapon, it's strange and interesting to see a film that uses so much white to make your hair stand on end like that! It's that contrast that hits you all the time: the visually beautiful, almost poetic, against the increasingly murky things that happen, managing to make the beautiful and the horrible feel together in the same shot... that's genius, huh! What handling by the director! Now, the million-dollar question: is it horror? Hmm, that's where things get good, if you go in expecting the easy scare, the ghost that appears out of nowhere, or that super dense tension of Hereditary... maybe and you're a little disappointed, it's not that kind of horror, I, honestly, would say it's more like... a psychological drama, or a folkloric horror, but taken to a level that is no longer comfortable at all... it's super, super uncomfortable.

Well, yes, it does have its graphic moments. There are some scenes that, ugh!, are hard to watch, very strong, the kind that make your stomach turn. But the real terror comes from the atmosphere, from that growing feeling that something is very, very wrong! From the clash of cultures, from how they play with your mind... and with the characters' minds. The film disorients you almost from the beginning, it's incredible! You feel just as lost, just as alien, as Dani and his friends... all those strange rituals, the customs, those people who smile at you but who you feel are hiding something... it all creates a tension that cooks slowly, slowly! It's not so much that something jumps out at you, but that little by little you realize where the hell they got into. There were moments when I felt like... a crazy desire for them to leave! I wanted to get in front of the screen and yell at them: "Get out of there! Run! Go home!"... you feel trapped with them in that place that looks like paradise on the outside, but inside... something smells very bad!

Y decir "raro".. ¡se queda cortísimo, ¡en serio! Es que este lugar, Hårga... imagínense, parece salido de un cuento de hadas, pero uno medio retorcido, o como si un catálogo de IKEA se hubiera vuelto loco, todo es perfecto: campitos verdes, cielo azul, la gente vestida de blanco impecable con bordados, flores por todos lados.. una belleza que no te la crees, demasiado lindo para ser verdad.. eso es lo genial y lo que te asusta de la peli. Este director, Aster, logra que sientas un miedo, ¡un terror!, pero ¡a plena luz del día.. con el solazo pegando durísimo, olvídense de la oscuridad, de los sustos fáciles que te hacen saltar del asiento, aquí, la luz del día, lo bonito, ¡eso es lo que da miedo!
Es el arma, es raro e interesante ver una película que usa tanto el blanco para ponerte los pelos de punta de esa manera! Es ese contraste que te choca todo el tiempo: lo visualmente hermoso, casi poético, contra las cosas cada vez más turbias que van pasando, lograr que lo bonito y lo horrible se sientan juntos en la misma toma... ¡eso es de genio, eh! ¡Qué manejo del director! Ahora, la pregunta del millón: ¿es de terror? Mmm, ahí se pone buena la cosa, si vas esperando el susto fácil, el fantasma que aparece de la nada, o esa tensión súper densa de Hereditary... tal vez y te decepcionas un poquito, no es ese tipo de terror, yo, la verdad, le diría más como... un drama psicológico, o un terror folclórico, pero llevado a un nivel que ya no es nada cómodo.. es súper, súper incómodo.
A ver, sí tiene sus momentos gráficos, hay unas escenas que ¡uff!, te cuesta mirar, muy fuertes, de esas que te revuelven la panza, pero el verdadero terror viene de la atmósfera, de esa sensación que va creciendo de que ¡algo está muy, muy mal!, del choque de culturas, de cómo juegan con tu mente.. y con la de los personajes, la peli te desorienta casi desde el principio, ¡es increíble! Te sientes igual de perdido, de ajeno, que Dani y sus amigos.. todos esos rituales raros, las costumbres, esa gente que te sonríe pero que sientes que algo oculta... todo va creando una tensión que se cocina lento, lento! No es tanto que algo te salte encima, sino que poco a poco vas cayendo en cuenta de dónde carajos se metieron, hubo momentos, en que sentí como... ¡unas ganas locas de que se fueran! Quería meterme a la pantalla y gritarles: "¡Lárguense de ahí! ¡Corran! ¡A su casa!".. te sientes atrapado con ellos en ese lugar que parece un paraíso por fuera, pero que por dentro... ¡algo huele muy mal!

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disconnected a little. But, for me, that slow pace feels intentional... it puts you right in the groove of these people from Hårga, it takes you to a kind of strange state, as if you were drugged (which is kind of what happens to the characters sometimes), and so, when something happens, boom!, it hits you harder... the point is to create that atmosphere, to let the fear creep in little by little, not to hit you all at once.

And beyond the easy scares, the film touches on some really interesting topics. Dani's relationship with Christian is... a perfect example of a toxic relationship: zero support, constantly blaming each other, not being able to talk things through. It speaks to that false idea of ​​love, the pressure to fit in (with friends and even more so with the people of Hårga), that desperate search to find meaning in everything and feel like you belong after something ugly, and pure selfishness, too. And seeing those really strange rituals that freak you out... it even made me think about our own customs, how we criticize others without seeing the strange or even ugly things about our own culture or history... obviously, it doesn't justify anything that happens in the film, not at all! But it does leave you thinking about uncomfortable things. And well, the visuals and the sound... wow, on another level!

The photography is incredible, it captures that mix of beauty and the fear that's hidden there incredibly well... and the music, the sound? It's crazy, there are scenes where the music, what you see, how it's edited and how they act... it all comes together in a perfect way and it gives you goosebumps! They make you feel things that... are wrong, it's not just fear, it makes you feel nauseous, it confuses you, sometimes even a very strange euphoria that makes you ask yourself "why the hell am I feeling this?" There were moments, especially at the end, that were so strange, so over the top, that they almost made you laugh, but a nervous, dark laugh... and you're like... laughing but disgusted at the same time.

Y el ritmo, ayuda un montón a eso, les aviso: esta peli va con calma, eh.. dura casi dos horas y media, y sobre todo la primera mitad, tiene planos largos, escenas donde solo hablan, momentos donde parece que no pasa nada.. y la verdad, entiendo súper bien si a algunos se les hace lenta, hasta aburrida, hubo ratos, les soy sincero, que como que me desconecté un poquito. Pero, para mí, ese ritmo lento se siente a propósito.. te mete de lleno en la onda de esta gente de Hårga, te va llevando a un estado medio raro, como si estuvieras drogado (que es medio lo que les pasa a los personajes a veces), y así, cuando pasa algo, ¡pum!, te pega más duro.. la onda es ir creando esa atmósfera, que el miedito se te vaya metiendo de a poco, no dártelo de sopetón.
Y más allá del susto fácil, la peli toca unos temas bien, bien interesantes, la relación de Dani con Christian es... un ejemplo perfecto de relación tóxica: cero apoyo, echarle la culpa al otro todo el tiempo, no poder hablar las cosas, habla de esa idea falsa del amor, la presión de querer encajar (con los amigos y más todavía con la gente de Hårga), esa búsqueda desesperada de encontrarle un sentido a todo y sentir que perteneces después de algo feo, y el egoísmo puro y duro, también. Y ver esos rituales rarísimos y que te sacan de onda... hasta me dejó pensando en nuestras propias costumbres, cómo criticamos a otros sin ver las cosas raras o hasta feas de nuestra propia cultura o historia.. obvio, no justifica nada de lo que pasa en la peli, ¡para nada!, pero te deja pensando cosas incómodas. Y bueno, lo visual y el sonido... ¡wow, de otro nivel!
La fotografía está increíble, captura súper bien esa mezcla de belleza y el miedo que está ahí escondido.. y la música, el sonido? una locura, hay escenas donde la música, lo que ves, como está editado y cómo actúan... ¡todo se junta de una forma perfecta y que te pone los pelos de punta! Te hacen sentir cosas que.. están mal, no solo es miedo, te da como náuseas, te confunde, a veces hasta una euforia rarísima que te preguntas "¿por qué carajos estoy sintiendo esto?". Hubo momentos, sobre todo al final, que eran tan raros, tan pasados de rosca, que casi te daban risa, pero una risa nerviosa, oscura... y te quedas así como... riéndote pero con asco al mismo tiempo.

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Okay, the other characters, except for Dani and maybe Christian and Pelle, feel kind of... flat, like they're just there to move the story forward or for something specific to happen, they were kind of "disposable," like you don't really connect with them that much, and that might take away from the power for some... but Dani's story, that's the main thing, and the ending... no, no, no! Don't worry, I'm not going to spoil it for you, but it's a BLOW! It leaves you in shock, it's like... liberating but in a super twisted way, it leaves you thinking a lot. And it connects perfectly – or rather, it scares you – with the whole Dani thing from the beginning, with her trauma... so, my final opinion? Look, this movie is NOT for everyone, not at all! If you're looking for high-octane action, fast pace or jump scares, forget it! You’re going to hate it, Midsommar is going to take you further...

It’s dense, it demands you, and it seriously disturbs you, in many ways, but, if you like terror that creates an atmosphere, the psychological, that it looks incredible and a movie that really makes you feel strong things (even if it’s pure discomfort!), then you have to see it! Yes or yes! It stayed with me, more than a lot of movies, it’s super well done, it leaves you really sick, and it’s different from almost everything I’ve seen lately... I give it a 9/10. I take away a point for the rhythm that sometimes feels strange and because the other characters are not as polished, but the general idea, the atmosphere... Florence Pugh who is spectacular!, and how brave the movie is... it’s quite a journey, seriously.. and well, that’s all for today, I’ll see you in the next reviews, take care! Bye!

A ver, los otros personajes, sacando a Dani y capaz a Christian y Pelle, como que se sienten medio... planos, como que están ahí nomás para que la historia avance o para que pase algo específico, eran como "descartables", como que no llegas a conectar tanto con ellos, y eso capaz le quita fuerza para algunos.. pero la historia de Dani, eso sí es lo principal, y el final... ¡no, no, no! Tranquilos, no les voy a spoilear, ¡pero es un GOLPE! Te deja en shock, es como... liberador pero de una forma súper retorcida, te deja pensando un montón. Y conecta perfecto – o de miedo, más bien – con todo el rollo de Dani desde el principio, con su trauma.. así que, ¿mi opinión final? Miren, esta peli NO es para todos, ¡para nada! si buscan acción a mil, ritmo rápido o sustos de brincar, ¡olvídenlo! La van a odiar, Midsommar los va a llevar más allá..
Es densa, te exige, y te perturba en serio, por muchos lados, pero, si les va el terror que te crea ambiente, lo psicológico, que se vea increíble y una peli que de verdad te haga sentir cosas fuertes (¡aunque sea incomodidad pura!), entonces ¡tienen que verla! ¡Sí o sí! A mí se me quedó grabada, más que un montón de pelis, está súper bien hecha, te deja re mal cuerpo, y es distinta a casi todo lo que he visto últimamente.. le doy un 9/10. Le quito un puntito por el ritmo que a veces se siente raro y porque los otros personajes no están tan pulidos, pero la idea general, la atmósfera.. Florence Pugh que está espectacular!, y lo valiente que es la peli... es todo un viaje, en serio.. y bueno, eso es todo por hoy, nos veremos en las próximas reseñas, cuidense! Byebye!

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See you next time! 👀🎞💗

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[...Those high-pitched, almost hysterical violins accompany the scene like a scream that doesn't come from the mouth, but from the depths of the mind. They are the echo of trauma, of unfolding, of inexplicable horror...]

Together again, film lovers in #hive

The screen shakes. The projector comes to life once more... this time to unveil the seventh film in my personal saga: "Ten Films That Shook the World".

Each frame is an earthquake. Each sequence, a turning point in the history of the seventh art. Prepare to dive into the abyss of visual narrative, where only the boldest, those that left an indelible scar on the collective consciousness, have their place.

The countdown has begun.

If you dare to cross over to the other side of the seat and discover which titles have earned a place in this film pantheon, the links at the end of this post are your ticket in.

The legend continues…

⏸️⏸️ INTRODUCTION ⏸️⏸️

There are films that move us. Not because of what they show, but because of what they imply. Psycho (1960) is one of them. It doesn't matter whether the viewer trembles or remains impassive: the film settles in some corner of the memory, like a shadow that can't be fully explained. And that, while not always moving, does shake us.

I arrived at Psycho with a heavy backpack. I had read about Hitchcock, about the shower scene, about the narrative shift that supposedly changed cinema. I expected vertigo, tension, fear. What I found was something else: a film that doesn't seek shock, but rather a slow slide toward the unsettling. And while that approach is powerful, it also demands a different disposition from the viewer. It's not about feeling, but about observing. It's not about trembling, but about thinking.

The story begins with Marion Crane, a woman on the run after committing a robbery. Her arrival at the Bates Motel seems like a pause, but soon becomes the center of a spiral that never stops. The film presents Marion as the protagonist, following her, accompanying her, framing her. And just when one begins to build empathy, Hitchcock eliminates her. There's no warning. No preparation. Just a shower, a knife, music that cuts through the air. And suddenly, the story shifts.

That twist, which was revolutionary at the time, may seem like a narrative trick today. But it must be understood in context: Hitchcock broke with the logic of the hero, with the security of the classic story. By killing Marion, he destabilized the viewer. He left them without a guide. He forced them to look elsewhere: toward Norman Bates.

Norman is the heart of the film. Not for what he says, but for what he doesn't say. Anthony Perkins plays him with a mixture of shyness and menace that never resolves. His smile, his gestures, his voice… everything seems normal, but something doesn't fit. And that "something" is what sustains the tension. There is no visible monster. There is no excess blood. Just a presence that unfolds, that hides, that observes.

His relationship with his mother, or with the idea of his mother, is the symbolic axis of the film. The house on the hill, the fixed shots, the silences… everything builds an atmosphere that doesn't scream, but that throbs. And that murmur is more disturbing than any scream. Because you don't know where it comes from, or where it goes.

The much-discussed shower scene is more technical than emotional. The editing, the music, the black and white... everything is calculated. But it's not going for a cheap scare. It's going for bewilderment. The viewer doesn't see the knife penetrate, doesn't see red blood, doesn't see the killer's face. Only fragments. And those fragments are enough to suggest what isn't shown. That's Hitchcock's strength: he doesn't need to show to unsettle.

Bernard Herrmann's music is another character. Those high-pitched, almost hysterical violins accompany the scene like a scream that doesn't come from the mouth, but from the depths of the mind. They are the echo of trauma, of unfolding, of unexplained horror. And although at times they seem too present, too insistent, they fulfill their function: sustaining a tension that isn't always present in the image.

The ending, with its psychiatric explanation, may seem long. Today, accustomed to more ambiguous, more open endings, that monologue may feel like an over-explanation. But at the time, it was necessary. The audience needed to understand. They needed an answer. And Hitchcock, though a lover of mystery, also knew when to offer certainties.

Now, why did Psycho shock the world?

⏸️⏸️ CONTEXT ⏸️⏸️

It wasn't the blood. It wasn't the fear. It was what it broke. What it inaugurated. What it insinuated. Hitchcock dismantled classical narrative, blurred the figure of the hero, and introduced psychological horror as a way of looking at the world. It was no longer about external monsters, but internal monsters. It was no longer about what you see, but what you imagine.

Psycho opened a door that cinema never closed again. After it, horror stopped being just screams and shadows. It became more complex, more intimate, more symbolic. Films like The Shining, The Silence of the Lambs, Hereditary… all draw from that source. They all understand that true fear isn't on the outside, but in what isn't said, in what is repressed, in what is hidden.

Seeing it today, after so many works have followed its path, can diminish its impact. Some narrative choices no longer surprise. The pace may seem slow. The tension, contained. But that doesn't diminish its merit. On the contrary: it reveals its elegance. Psycho doesn't need to scream to shock. It doesn't need blood to unsettle. Its horror is different. It's that of the splitting mind. That of a fragmented identity. That of repressed desire.

And while as a viewer, one may come away with a mixture of admiration and terror, the truth is that the film leaves a mark. Not because of what is felt, but because of what is thought. Not because of what is shown, but because of what is suggested. And that kind of shock, although more subtle, can be deeper. And it is.

⏸️⏸️ MY OPINION ⏸️⏸️

Recommending it comes with a warning: don't expect pure fear. Don't expect a story that grips you from the first minute. Psycho is something else. It's a film that you think more than you feel. And that, depending on the moment and the viewer, can be a virtue... or a barrier.

But if you manage to cross that barrier, if you accept the game, if you enter into the logic of the film, then yes: Psycho shakes you. Not like a thunderclap, but like a whisper. Not like a blow, but like a crack. And that crack, even if you can't see it, remains.

That's why it's on my list of Ten Films That Shook the World. Not for what it made you feel, but for what it made you think. Not for what it showed, but for what it changed. Because after Psycho, cinema was never the same. And that, even if it's not immediately apparent, is shocking.

🎞️ Psicosis. Estremecedor

[...Esos violines agudos, casi histéricos, acompañan la escena como un grito que no viene de la boca, sino del fondo de la mente. Son el eco del trauma, del desdoblamiento, del horror que no se explica...]

Juntos otra vez, amantes del cine en #hive

La pantalla se agita. El proyector cobra vida una vez más..., esra vez para develar la cinta número 7 de mi saga personal: «Diez películas que estremecieron al mundo».

Cada fotograma, es un terremoto. Cada secuencia, un parteaguas en la historia del séptimo arte. Prepárense para sumergirse en el abismo de la narrativa visual, donde solo las más audaces, las que dejaron una cicatriz imborrable en la conciencia colectiva, tienen su lugar.

La cuenta regresiva ha empezado.

Si se atreven a cruzar al otro lado de la butaca y descubrir qué títulos han conquistado un lugar en este panteón fílmico, los enlaces al final de este Post son su boleto de acceso.

La leyenda sigue…

⏸️⏸️ INTRODUCCIÓN ⏸️⏸️

Hay películas que nos atraviesan. No por lo que muestran, sino por lo que insinúan. Psicosis (1960) es una de ellas. No importa si el espectador tiembla o permanece impasible: la película se instala en algún rincón de la memoria, como una sombra que no se explica del todo. Y eso, aunque no siempre conmueva, sí estremece.

Llegué a Psicosis con la mochila cargada. Había leído sobre Hitchcock, sobre la escena de la ducha, sobre el giro narrativo que supuestamente cambió el cine. Esperaba vértigo, tensión, miedo. Lo que encontré fue otra cosa: una película que no busca el sobresalto, sino el deslizamiento lento hacia lo inquietante. Y aunque esa apuesta tiene fuerza, también exige del espectador una disposición distinta. No se trata de sentir, sino de observar. No se trata de temblar, sino de pensar.

La historia comienza con Marion Crane, una mujer que huye tras cometer un robo. Su llegada al motel Bates parece una pausa, pero pronto se convierte en el centro de una espiral que no se detiene. La película presenta a Marion como la protagonista, la sigue, la acompaña, la enmarca. Y justo cuando uno empieza a construir empatía, Hitchcock la elimina. No hay aviso. No hay preparación. Solo una ducha, un cuchillo, una música que corta el aire. Y de pronto, el relato cambia de eje.

Ese giro, que en su momento fue revolucionario, hoy puede parecer un truco narrativo. Pero hay que entenderlo en su contexto: Hitchcock rompió con la lógica del héroe, con la seguridad del relato clásico. Al matar a Marion, desestabilizó al espectador. Lo dejó sin guía. Lo obligó a mirar hacia otro lado: hacia Norman Bates.

Norman es el corazón de la película. No por lo que dice, sino por lo que calla. Anthony Perkins lo interpreta con una mezcla de timidez y amenaza que nunca se resuelve. Su sonrisa, sus gestos, su voz… todo parece normal, pero algo no encaja. Y ese “algo” es lo que sostiene la tensión. No hay monstruo visible. No hay sangre en exceso. Solo una presencia que se desdobla, que se esconde, que observa.

La relación con su madre, o con la idea de su madre, es el eje simbólico del filme. La casa en la colina, los planos fijos, los silencios… todo construye una atmósfera que no grita, pero que late. Y ese murmullo es más perturbador que cualquier alarido. Porque no se sabe de dónde viene, ni hacia dónde va.

La escena de la ducha, tan comentada, es más técnica que emocional. El montaje, la música, el blanco y negro… todo está calculado. Pero no busca el susto fácil. Busca el desconcierto. El espectador no ve el cuchillo penetrar, no ve sangre roja, no ve el rostro del asesino. Solo fragmentos. Y esos fragmentos son suficientes para sugerir lo que no se muestra. Esa es la fuerza de Hitchcock: no necesita mostrar para inquietar.

La música de Bernard Herrmann es otro personaje. Esos violines agudos, casi histéricos, acompañan la escena como un grito que no viene de la boca, sino del fondo de la mente. Son el eco del trauma, del desdoblamiento, del horror que no se explica. Y aunque en algunos momentos parecen demasiado presentes, demasiado insistentes, cumplen su función: sostener una tensión que no siempre está en la imagen.

El final, con su explicación psiquiátrica, puede parecer largo. Hoy, acostumbrados a cierres más ambiguos, más abiertos, ese monólogo puede sentirse como una sobreexplicación. Pero en su momento fue necesario. El público necesitaba entender. Necesitaba una respuesta. Y Hitchcock, aunque amante del misterio, también sabía cuándo ofrecer certezas.

Ahora bien, ¿por qué Psicosis estremeció al mundo?

⏸️⏸️ CONTEXTO ⏸️⏸️

No fue por la sangre. No fue por el miedo. Fue por lo que rompió. Por lo que inauguró. Por lo que insinuó. Hitchcock desarmó la narrativa clásica, desdibujó la figura del héroe, introdujo el horror psicológico como una forma de mirar el mundo. Ya no se trataba de monstruos externos, sino de monstruos internos. Ya no se trataba de lo que se ve, sino de lo que se imagina.

Psicosis abrió una puerta que el cine no volvió a cerrar. Después de ella, el terror dejó de ser solo gritos y sombras. Se volvió más complejo, más íntimo, más simbólico. Películas como El resplandor, El silencio de los corderos, Hereditary… todas beben de esa fuente. Todas entienden que el verdadero miedo no está en el exterior, sino en lo que no se dice, en lo que se reprime, en lo que se oculta.

Verla hoy, después de tantas obras que han seguido su camino, puede restarle impacto. Algunas decisiones narrativas ya no sorprenden. El ritmo puede parecer lento. La tensión, contenida. Pero eso no le quita mérito. Al contrario: revela su elegancia. Psicosis no necesita gritar para estremecer. No necesita sangre para inquietar. Su horror es otro. Es el de la mente que se desdobla. El de la identidad que se fragmenta. El del deseo que se reprime.

Y aunque como espectador uno pueda salir con una mezcla de admiración y terror, pero lo cierto es que la película deja huella. No por lo que se siente, sino por lo que se piensa. No por lo que se muestra, sino por lo que se sugiere. Y ese tipo de estremecimiento, aunque más sutil, puede ser más profundo. Y lo es.

⏸️⏸️ MI OPINIÓN ⏸️⏸️

Recomendarla implica una advertencia: no esperes miedo puro. No esperes una historia que te atrape desde el primer minuto. Psicosis es otra cosa. Es una película que se piensa más que se siente. Y eso, dependiendo del momento y del espectador, puede ser una virtud… o una barrera.

Pero si se logra cruzar esa barrera, si se acepta el juego, si se entra en la lógica del filme, entonces sí: Psicosis estremece. No como un trueno, sino como un susurro. No como un golpe, sino como una grieta. Y esa grieta, aunque no se vea, se queda.

Por eso está en mi lista entre las Diez películas que estremecieron al mundo. No por lo que hizo sentir, sino por lo que hizo pensar. No por lo que mostró, sino por lo que cambió. Porque después de Psicosis, el cine ya no fue igual. Y eso, aunque no se note a simple vista, es estremecedor.