Community Reviews

Warm greetings! Today I'll be reviewing one of the most beautiful films I've ever seen. I truly never thought I'd like it so much. I'd been putting it off for a while until one day I decided to watch it with my children. It's called

FLOW (2024)

I had refused to watch it because I kept asking myself how a film where not a single word is spoken could convey anything, and let me tell you, I was very wrong.

It's a film that confronts us with that great dilemma of humanity when it has destroyed its own planet. No humans appear in the story either; we only see animals in a world where various natural phenomena occur that are beyond their understanding, and they simply try to adapt and survive.

In the story, we see various characters, such as:

The Cat (Protagonist): He is a black, solitary, very independent cat with a very ordinary appearance. At first, he is afraid of water and distrustful of everyone, but he is the central figure of the group and the one who must learn to trust others in order to survive.

The Capybara: It's the peaceful soul of the group. It's extremely relaxed, good-natured, and lazy (spending a lot of time sleeping). It's not bothered by the conflicts of others and becomes the peacemaker of the group, keeping the crew together and demonstrating great nobility.

The Dog (A Labrador Retriever): It's cheerful, noisy, hyperactive, and bursting with energy. Unlike his original pack, he is extremely friendly and just wants to play and make friends, even with the apathetic cat; he represents absolute loyalty.

The Lemur: A ring-tailed lemur who turns out to be a compulsive hoarder. He is obsessed with collecting and protecting all kinds of shiny objects and trinkets he finds along the way. At first, he is selfish, but he changes throughout the journey. I found him to be the cutest and funniest of the group.

The Secretary Bird: A large and majestic bird that joins the group after being injured and separated from its flock. Although it has trouble flying due to its injury, it becomes a kind of wise guide or helmsman for the group. I would say it is the most powerful figure in the story.

Together, these animals struggle to survive the natural disasters they encounter along their journey. It's a dramatic, sometimes harrowing story with a profound message about caring for the environment and our only home: Earth.

It's a pleasure to share this brief review with you.

I used Google Translate (my language is Spanish). Images taken from the website https://www.imdb.com/es/title/tt4772188/?ref_=mv_close

Rating: 100/100

Originally posted through scrobble.life/movies.

Mother’s Mercy (S5x10)

Airdate: 14 June 2015

Written by: David Benioff & D.B. Weiss Directed by: David Nutter

Running Time: 60 minutes

For years, detractors of Game of Thrones enjoyed drawing a semi-humorous parallel between the sprawling fantasy epic and the glossy American primetime soap Dynasty. The comparison began as a witty observation—noting the structural similarities between the Red Wedding and Dynasty’s own Moldavian Wedding Massacre—but as the series progressed, the joke began to curdle into a prescient critique. By Season 5, as showrunners David Benioff and D.B. Weiss sailed further from the shores of George R.R. Martin’s source text, the show’s narrative began to exhibit the hallmarks of routine television: a reliance on shock over substance, a compression of complex political machinations into melodramatic beats, and a growing burden of clichés. This process reached its apotheosis in the Season 5 finale, Mother’s Mercy. The episode is a great display of engineered tension, a series of ‘clever’ cliffhangers designed to dominate water-cooler conversation and social media buzz for the ensuing year. Its final image—Jon Snow bleeding out on the snow—is undeniably iconic. Yet, in its calculated manipulation, it invites a more damning comparison than Dynasty: the infamous ‘Who Shot J.R.?’ storyline from Dallas. This was no longer a fantasy saga drawing from the well of history and myth; it was a primetime soap with dragons, where narrative integrity was sacrificed at the altar of the ‘wham’ moment.

The episode’s primary directive is clear: advance as many storylines as possible towards a season-ending precipice. The sole exception is the complete and puzzling absence of Bran Stark, Hodor, and Meera Reed beyond the Wall, a thread benched for the entire season. This omission highlights the show’s increasingly piecemeal approach to its vast tapestry, favouring immediate, visceral pay-offs over slower, world-building arcs. Every other character is marshalled towards a moment of crisis or revelation, resulting in a breathless, if often contrived, narrative sprint.

In Braavos, Arya Stark’s plot takes a darkly personal turn. Posing as the dead girl Ghita, she infiltrates a brothel where Ser Meryn Trant reveals a predilection for beating young girls as much as abusing them. Her subsequent assassination is a gruesome act of vengeance, methodical and cruel. However, upon returning to the House of Black and White, she is confronted by Jaqen H’ghar, who accuses her of stealing a face and acting for personal justice, not the god’s. The ensuing sequence—Jaqen drinking poison, his body cycling through faces including Arya’s own, leaving her blinded—is visually striking and thematically potent. It underscores the cost of her identity and the harsh pedagogy of the Faceless Men. Yet, it also feels like an arbitrary punishment designed to leave her in a state of helpless vulnerability, another cliffhanger to be resolved later.

The North provides the episode’s most significant military and political conclusion, albeit one that remains deeply controversial. Melisandre’s observation that the weather has warmed slightly is a chillingly brief justification for the horror of Shireen’s sacrifice. It fails to convince Stannis’s army, half of which deserts, repulsed. The subsequent chain of events—Queen Selyse’s suicide, Melisandre’s abandonment, and Stannis’s stubborn march on Winterfell—paints a portrait of a man whose defining trait, his iron will, becomes his fatal flaw. The battle itself is a tactical anticlimax, efficiently presented through a sweeping aerial shot: Bolton cavalry effortlessly routs Stannis’s exhausted, horseless remnant. The plausibility of this defeat is one of the episode’s stronger points, a logical conclusion to a campaign gutted by desperation and poor morale. However, the narrative then indulges in a moment of pure televisual convenience. Brienne of Tarth, having vowed to avenge Renly, happens upon the wounded Stannis in the woods. Her execution is presented with ambiguous editing—the sword swing, the cut away—leaving his death technically off-screen. This ambiguity feels like a hedge, a refusal to fully commit that undermines the gravity of the moment. Brienne’s presence is a melodramatic contrivance, providing a neat, personal closure that the messy reality of war would seldom allow.

The commotion at Winterfell allows Sansa Stark a desperate bid for freedom. Confronted on the battlements by Theon and the sadistic Myranda, who taunts her with promises of disfigurement, Sansa’s plight triggers Theon’s long-submerged conscience. He seizes Myranda and throws her to her death—a moment of visceral catharsis. Their subsequent leap from the walls into the deep snow below is another masterfully constructed cliffhanger, its consequences left tantalisingly ambiguous. While a powerful image of desperate hope, it again exemplifies the episode’s modus operandi: place characters in mortal peril, then freeze the frame.

In Dorne, the storyline reaches its clumsy, shock-value conclusion. Jaime, Bronn, Myrcella, and Trystane depart for King’s Landing. Ellaria Sand’s farewell kiss to Myrcella is loaded with sinister irony, confirmed when Myrcella, aboard ship, shares a tender moment with Jaime, admitting she always knew he was her father. This brief glimpse of emotional honesty makes her subsequent, agonising death by poison all the more brutal. Ellaria on the dock, taking the antidote, completes the tableau of perfidy. This deviation from the books—where Myrcella is maimed but survives—serves no clear narrative purpose beyond killing another Lannister child for shock value. It renders Jaime’s entire Dornish excursion a futile exercise in stupidity, and Ellaria’s actions seem politically suicidal, inviting devastating Lannister retaliation against her own family. It is cruelty for cruelty’s sake, a hollow ‘gotcha’ moment.

The episode’s centrepiece, both in length and impact, is Cersei Lannister’s walk of atonement. Broken by her imprisonment, she confesses to adultery (but not incest) and appeals for the ‘Mother’s mercy’ of the title. The High Sparrow’s mercy is a calculated humiliation: a naked, shorn walk from the Great Sept to the Red Keep. The scene is powerfully acted by Lena Headey, who conveys a devastating arc from defiant pride to shattered vulnerability. It is also one of Martin’s most direct borrowings from history, inspired by the penance of Jane Shore. However, the production was mired in controversy. Croatian conservatives protested the filming in Dubrovnik, though authorities later cynically exploited it for tourism. More notably, the technical execution proved distracting for some viewers. Headey, for personal reasons, used a body double, Rebecca Van Cleave, with her face digitally superimposed. While Headey’s performance in close-up is magnificent, the CGI composite in wider shots occasionally lacks seamless immersion, a small but noticeable flaw in such a pivotal scene. The sequence’s conclusion, however, is flawless: a broken Cersei, swaddled in robes, is shown the reanimated Mountain by Qyburn. In that moment, her eyes harden with a terrifying, vengeful resolve. It is the episode’s best character beat, a promise of fury to come.

In Meereen, the power vacuum left by Daenerys’s departure is filled by a sensible, if uninspired, plan: Jorah and Daario will search for her, while Tyrion will govern. Daenerys herself is stranded in the Dothraki Sea with a wounded, recalcitrant Drogon. Her capture by a massive khalasar is less a cliffhanger than a reset button, plunging her back to a status similar to her Season 1 beginnings.

Finally, at the Wall, the episode engineers its most famous cliffhanger. After sending Samwell Tarly to Oldtown—a rare moment of quiet hope—Jon Snow is lured by the false news of his uncle Benjen’s return. He is ambushed by mutineers led by Ser Alliser Thorne and the invented character Olly, stabbed repeatedly for his perceived betrayal in aiding the Wildlings. He falls, bleeding onto the snow, ‘for the Watch.’ As the screen cuts to black, the audience is left with the year-long question: is he truly dead? While this betrayal occurs in Martin’s books, the show’s simplification—replacing complex political grievances with a more straightforward grievance over the Wildlings—makes it feel more like a plot device than an inevitable political consequence. Jon Snow was, by this point, arguably the show’s central hero and certainly its most popular character among a large segment of the audience, especially female. The idea of his permanent death was commercially and narratively unthinkable, transforming the mystery from ‘if’ he would return to ‘how’. The parallel to Dallas’s ‘Who Shot J.R.?’ is inescapable: a hugely popular character is seemingly killed to generate unprecedented publicity and viewer speculation, a quintessential soap opera gambit.

Mother’s Mercy is one of the most critically acclaimed episodes of Game of Thrones, winning Emmys for Best Direction and Best Writing. The direction award is justified; David Nutter manages the sprawling, tonally disparate storylines with confident pacing and delivers several indelible images—the aerial shot of Stannis’s defeat, the stark horror of Cersei’s walk, the chilling stillness of Jon’s ‘death’. The writing award, however, is more questionable. Benioff and Weiss’s script is a good example of cliffhanger construction but a failure in organic storytelling. Almost every storyline ends with a ‘wham’ development: Stannis destroyed, Myrcella poisoned, Jon assassinated, Sansa leaping, Arya blinded, Cersei humiliated. The sheer density of catastrophe feels manipulative, a checklist of shocks designed to ensure the season ends with a bang. Furthermore, the reliance on ambiguity—did Brienne kill Stannis? Did Sansa survive the fall?—feels less like nuanced storytelling and more like a refusal to make definitive choices, keeping all options open for the writers’ room next season.

A particularly disturbing trend crystallises in this episode: a preoccupation with violence against young girls and women. From the beatings in the Braavosi brothel and Arya’s blinding, to Myrcella’s poisoning and Sansa’s threatened disfigurement and perilous leap, to the extended humiliation of Cersei, the episode subjects its female characters to a relentless parade of physical and psychological torment. While Game of Thrones has never shied from brutality, the concentration here feels exploitative, leaning into trauma as a primary driver of female character development.

Mother’s Mercy is a solid, professionally executed hour of television that also lays bare the profound flaws that would increasingly plague Game of Thrones. It is thrilling, memorable, and superbly directed. Yet, it is also cynical, manipulative, and increasingly derivative of the very soap opera tropes it once seemed to transcend. It prioritises the immediate shock over the long-term narrative consequence, replaces political complexity with personal vendettas and convenient coincidences, and indulges in a voyeuristic cruelty towards its female characters. It is the culmination of Season 5’s drift away from the nuanced, patient adaptation of Martin’s world and towards a faster, simpler, and more conventional style of television drama. It is a brilliantly constructed machine for generating buzz, but one can hear the gears grinding, signalling that the great, gritty fantasy epic was steadily becoming just another show.

RATING: 6/10 (++)

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Hola mi gente bella, espero esten todos super bien, seguimos con las ediciones de los dramaticos de Venezuela. Esta ediciòn es una de las novelas que mas les a fustado a la sociedad en general por sus dos historias amorosas.

La niña de mis ojos es una telenovela venezolana producida y transmitida por RCTV entre los años 2001 y 2002. Fue escrita por la reconocida autora Alidha Ávila, quien diseñó una historia fresca y emotiva centrada en los conflictos de clases, las segundas oportunidades y el peso de las decisiones familiares en el destino de los hijos.

​Titulo Original: La Niña De Mis Ojos. -Productora: Radio Caracas Televisión (RCTV). ​-Año: 2001 – 2002 (126 episodios). ​-Guion: Alidha Ávila. ​-Dirección: José Alcalde. ​-Protagonistas: Lilibeth Morillo, Simon Pestana, Natalia Streignard y Juan Carlos Alarcón. -​Antagonistas: Amalia Pérez Díaz, Juan Carlos García y Flavio Caballero. ​-Elenco Estelar: Carlos Olivier, Alba Roversi, Marianela González y Hugo Vásquez. ​-Tema musical: "La niña de mis ojos", interpretado por Salserín.

La historia sigue la vida de dos parejas con realidades y desafíos muy distintos que terminan cruzando sus caminos:

​Amparo Olivares (Lilibeth Morillo) y Esteban Olivares (Simon Pestana): Amparo es una mujer luchadora, de origen humilde pero con grandes valores, que debe sacar adelante a su familia. Su vida cambia cuando se enamora de Esteban, un hombre noble atrapado en las altas esferas sociales y las presiones familiares de la implacable matriarca Consuelo Landaeta (Amalia Pérez Díaz). ​ Isabel Díaz (Natalia Streignard) y Alejandro Rondón (Juan Carlos Alarcón): Esta trama juvenil y fresca aporta el toque dinámico a la novela, mostrando el paso a la madurez de unos jóvenes atrapados entre el primer amor, los secretos del pasado y las diferencias socioeconómicas de sus entornos.

​El conflicto central gira en torno a cómo el orgullo y la ambición de la familia Landaeta intentan aplastar los sueños amorosos de los protagonistas, quienes deberán luchar con fuerza para demostrar que el amor verdadero no entiende de linajes ni fortunas.

​Esta producción es muy recordada por consolidar a Lilibeth Morillo en los roles estelares de RCTV tras su éxito en ¡Viva la Pepa!, haciendo una pareja muy clásica y de gran madurez actoral junto a Simon Pestana. Sin embargo, muchos críticos y fanáticos señalan que la frescura de la novela descansó en la carismática pareja secundaria formada por Natalia Streignard y Juan Carlos Alarcón, quienes se ganaron el cariño del público joven.

​La novela también es un hito nostálgico por contar con la actuación de la primera actriz Amalia Pérez Díaz en uno de sus papeles más severos como la villana principal de la historia. Por otra parte, la banda sonora estuvo a cargo de la agrupación infantil-juvenil Salserín, cuyo tema principal se convirtió en un éxito radial inmediato que ayudó a que la novela tuviera una excelente sintonía en el bloque vespertino.

La niña de mis ojos es recordada como una telenovela entrañable, equilibrada y muy bien estructurada. Logró capturar a la audiencia gracias a la combinación de un melodrama romántico maduro con los dilemas de una juventud que buscaba su propio camino. Su legado reside en haber sido una de las producciones más cálidas de RCTV a inicios de la década, dejando una huella de romanticismo y valores familiares en el público venezolano.

Hasta aqui mi gente la ediciòn de dia de hoy, espero que sea de su agrado y que si quieren verla, esta producciòn esta en Youtube. Mil bendiciones.

The Dance of Dragons (S5x09)

Airdate: 7 June 2015

Written by: David Benioff & D.B. Weiss Directed by: David Nutter

Running Time: 52 minutes

The decision to adapt George R.R. Martin’s sprawling epic A Song of Ice and Fire for television proved to be immensely rewarding for HBO and most of those involved. However, it carried one fundamental, crippling flaw: the source material was, and remains, unfinished. By the midpoint of the series, specifically by the end of Season 5, showrunners David Benioff and D.B. Weiss had effectively exhausted the published narrative ore from Martin’s rich mines. Consequently, they were forced into a position of creative alchemy—condensing plots, altering character trajectories, and, most perilously, inventing new storylines wholesale. Season 5 stands as the starkest testament to this transition, a year where the show’s narrative engine began to sputter and roar on its own invented fuel. The penultimate episode, The Dance of Dragons, encapsulates this dichotomy perfectly, showcasing both the breathtaking spectacle the production could achieve and the jarring, often controversial, narrative shortcuts it began to take.

The episode’s title operates on multiple, clever levels. It directly references A Dance with Dragons, Martin’s fifth and most recent novel, published in July 2011. It also alludes to the historic Targaryen civil war, a topic of brief discussion among character, which would later form the basis for Fire & Blood and its television adaptation, prequel series House of the Dragon. Most pertinently, it serves as a metaphor for the episode’s climactic sequence: a literal dance of fire and death as Drogon descends upon the fighting pits. This layered titling is a hallmark of the show’s earlier, more literate seasons, a subtlety that becomes somewhat ironic given the episode’s broader narrative bluntness elsewhere.

In Dorne, the plot reaches a nadir of rushed resolution. Jaime Lannister, whose clumsy covert mission failed spectacularly, now achieves through awkward diplomacy what stealth could not: the return of Myrcella. The deal itself is sensible, preserving the dynastic marriage but allowing Trystane to accompany her to King’s Landing—a move that delights Myrcella because of genuine affection sorely lacking in most political unions in Westeros. Jaime also secures Bronn’s freedom. Yet, the consequences for the attempted coup are absurdly minimal. Ellaria Sand and the Sand Snakes, guilty of treason and attempted murder of a royal princess, are simply warned by Prince Doran that they will not get a “third chance.” This resolution feels less like the cunning politics of Sunspear and more like a hurried narrative broom sweeping a poorly conceived subplot under the rug, neutering any sense of real danger or consequence.

Braavos offers a more intriguing, if grim, character beat. Arya’s surveillance of the “Thin Man” is interrupted by the arrival of Mace Tyrell’s delegation to the Iron Bank. The true catalyst, however, is the sight of Ser Meryn Trant. The show deftly ties this back to Arya’s foundational trauma—the death of Syrio Forel—fuelling her vengeful focus. Her pursuit leads to a brothel, where Trant’s depravity is revealed: a preference for girls way below usual age. This moment is unflinchingly dark, serving dual purposes. It removes any lingering doubt about Trant’s deserving place on Arya’s list, and it starkly illustrates the moral rot festering within the institutions of the so-called civilised world. It is a efficient, if deeply unpleasant, piece of character work.

North of the Wall, Jon Snow executes a hard-won humanitarian mission, leading thousands of Wildling refugees through the gates. The silent, seething hostility from the Night’s Watch brothers is palpable and brilliantly underplayed, a ticking clock of resentment that will define the season’s finale. This sequence works because it is rooted in established conflict and character logic. South of the Wall, however, the narrative accelerates into contrivance. Ramsay Bolton’s daring raid on Stannis’s camp, executed with a ludicrously small band, is a smashing success. The wholesale destruction of food, horses, and siege engines is so comprehensive it beggars belief, functioning purely as a blunt instrument to force Stannis into an unthinkable choice. With his campaign in ruins, he sends Davos away and succumbs to Melisandre’s fanaticism. The sacrifice of his daughter, Shireen, is the episode’s most devastating and controversial act.

This scene is, undeniably, powerful television. Directed with chilling solemnity by David Nutter and acted with devastating conviction by Stephen Dillane and Kerry Ingram, it is a masterpiece of horror. The audience’s perspective aligns with Selyse, whose fanatical faith shatters the moment she hears her daughter’s screams, realising the monstrous abstraction of her beliefs. It succeeds in its primary goal: burning all bridges of audience sympathy for Stannis Baratheon. Yet, the controversy is wholly justified. It represents a drastic departure from the novels, where Shireen remains safe at Castle Black. While Benioff and Weiss later claimed this fate came from Martin himself, its placement here feels less like organic character tragedy and more like a calculated, shock-value plot device to dismantle Stannis’s storyline with maximum visceral impact. It is “shock for shock’s sake,” a charge that had begun to dog the series following Sansa’s rape in the earlier episode. For many viewers, this was a breaking point, a signal that nuanced character erosion was being replaced by brutal, audience-prodding spectacle.

That spectacle arrives, in spades, with the Meereenese finale. Daenerys’s attendance at the Daznak Pit is a sequence of extraordinary scale and technical prowess. Shot in the Plaza de Toros in Osuna, Spain, and augmented with digital majesty to house a thousand extras, it is the most spectacular location the show had yet presented. The direction is taut, the chaos of the Sons of the Harpy’s attack genuinely thrilling. The death of Hizdahr zo Loraq—a character of ambiguous loyalty who survives in the books—is a notable alteration. The timely arrival of Drogon is a deus ex machina, but one earned by seasons of dragon lore and executed with Emmy-winning visual effects. The image of Daenerys mounting her dragon and soaring away is iconography of the highest order, a triumphant fantasy moment that the series could deliver like no other.

The Dance of Dragons is an episode of stark contrasts and defining compromises. It showcases the show’s peak production capabilities in its breathtaking final act, a sequence that rightly won awards and captured the global imagination. Yet, it is equally defined by the quieter, more harrowing horror of Shireen’s pyre, a scene that exposes the growing narrative strains of adapting an unfinished saga. The episode stands as a microcosm of Season 5 and the series’ future: when leaning on Martin’s plotted complexity, as in Jon Snow’s storyline, it remained compelling; when forced to invent under pressure, it often opted for brutal efficiency over nuanced plausibility.

RATING: 7/10 (+++)

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Hello friends, good vibes to all.

Hola amigos, buenas vibras para todos.

Source!

La influencia de Disney en la sociedad ha sido tan masiva que no la podemos dimensionar, estoy seguro que ha llegado a lugares inimaginables. Pero si hablamos de Disney también habría que hacer lo propio con el Studio Ghibli que vendría siendo el el Disney japonés en lo que a películas se refiere. Por qué hago esta comparación? - pues porque la película de hoy tiene que ver un tanto con eso y es que estamos hablando no se si de la copia pero si de la competidora de La Sirenita, Ponyo. Cada vez son menos y menos las películas de Ghibli que me faltan por lo que el turno esta vez le tocó a este gran film lleno de fantasía de principio a fin.

Acá tenemos a Sosuke, un niño de 5 años que vive en lo más alto de un acantilado con su mamá. Un buen día él baja hacia el mar a jugar cuando de repente se consigue con una pequeña criatura marina, un pez quizás, atrapada en una botella de vidrio. Al rescatarla se crea de manera automática un lazo, una relación muy bonita y especial. Sosuke decide llamarla Ponyo y ella muy feliz acepta su nuevo nombre. La cosa es que ella viene de las profundidades del mar escapando de su padre quien estaba impidiendo que se acercara a los humanos. Como se pueden imaginar Ponyo tiene ciertos poderes mágicos que alteran las cosas y sobretodo el mar, esto a raíz de quienes son sus padres.

Source!

Source!

El centro de todo es que Ponyo está decidida a ser humana, de ahí a que ella buscará escapar del mar. De lo que ella no es consciente es del inmenso poder que tiene por lo que al escapar desató un gran desequilibrio en el mar lo que originó tormentas con olas gigantes que terminó afectando a los humanos del pueblo costero en donde vive Sosuke. Ponyo experimenta todos estos poderes al probar la sangre humana ya que lo hizo sin querer al compartir con Sosuke cuando la rescató. Basicamente el film trata sobre el nacimiento y el crecimiento de la relación entre este par de niños y de como esto más adelante importará a la hora de que Ponyo tome la decisión más importante de su vida, tanto para el presente como en el futuro.

Pero claro, este desequilibrio no solo afecta a el mar y todo lo que lo rodea, parece que también el propio planeta estaría a punto de sufrir graves consecuencias si la situación de Ponyo no se resuelve rápidamente. A ver, este film es de los más inocentes y sinceros que tiene Ghibli y es que vemos como es la mente y el corazón en su estado más puro. Esa es una de las cosas a destacar, la importancia de la amistad, el no juzgar a alguien por su apariencia y el compromiso que puede ver en siempre estar para el otro. No es una película muy profunda y elaborada pero es precisamente esa simpleza lo que la hace especial. Miyazaki tiene el don de crear personajes muy cool y acá es Ssosuke sin dudas y su mamá, porque si, ella al final es la razón del porque él es como es.

Source!

Source!

La animación es perfecta, la forma en como se nos muestra otros mundos, en este caso el acuático es espectacular. La película también tiene una critica hacia los humano como sociedad en el sentido del nivel de inconciencia que tenemos con no cuidar lo que nos rodea. Una de las razones del porque el papá de Ponyo no quiere nada con los humanos es porque estos son destructores y no respetan la naturaleza, en el film se muestra como el mar y su fondo está lleno de basura. Así que si, la película tiene varios mensajes y todos ellos son necesarios y muy acertados. Al final verán la decisión que toma Ponyo y con esto el fin de esta joya. Es prácticamente un cuento infantil pero con las pinceladas del Studio Ghibli. Muy recomendado el film, como no podía ser de otra manera. Hora y media de aventuras en donde aburrirte no está en los planes. Les dejo el tráiler por acá abajo.

Source!

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Well folks, that's all for today. I hope you enjoyed it. ¡Hugs to everyone, see you next time!

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

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Hello my dear friends at The Anime Realm, I want to ask you something: Was the wait for Adi Shankar's Devil May Cry worth it? Absolutely. Seven years of mystery and delays were worth it. Ever since the mastermind behind the acclaimed Castlevania anime announced he would adapt Capcom's iconic franchise, Devil May Cry fans have kept their expectations sky-high and their fingers crossed. The first season on Netflix finally arrived with eight adrenaline-fueled episodes, rhythmic gunfights, and unfinished pizzas, proving that the most arrogant demon hunter in video games knows how to own the small screen.

Hola mis queridos amigos de The Anime Realm, quiero preguntarles algo: ¿Valió la pena la espera para ver Devil May Cry dirigida por Adi Shankar? Por supuesto que sí. Siete años de misterio y retrasos valieron la pena. Desde que la mente maestra detrás del aclamado anime de Castlevania anunció que adaptaría la icónica franquicia de Capcom, los fans de Devil May Cry mantuvimos las expectativas por las nubes y los dedos cruzados. La primera temporada en Netflix finalmente aterrizó con ocho episodios llenos de adrenalina, balazos rítmicos y pizzas sin terminar, demostrando que el cazador de demonios más arrogante de los videojuegos sabe cómo adueñarse de la pantalla chica.

Source

Source

Visually, the series is a dynamic delight thanks to Studio Mir's work, which perfectly captures the essence of the game's hack-and-slash combat: that exaggerated, almost choreographed fluidity where Dante humiliates his enemies before delivering the final blow. Johnny Yong Bosch's voice acting as Dante is also fantastic, perfectly capturing his nonchalant attitude while subtly hinting at the emotional weight of his past.

Visualmente, la serie es un deleite dinámico gracias al trabajo de Studio Mir ya que logra capturar la esencia del combate hack and slash del juego: esa fluidez exagerada y casi coreográfica donde Dante humilla a sus enemigos antes de darles el golpe de gracia. A su vez, la interpretación de Johnny Yong Bosch como la voz de Dante es fantástica, ya que le da ese tono perfecto de "no me importa nada" y deja entrever el peso emocional de su pasado.

This new version is one of my favorites for many reasons: first, the visual effects; second, the music chosen for each episode; third, Dante's personality, which evolves with each episode. He's not a flat character without a backstory; rather, he has a past that haunts him, and that resonates with the fans. Fourth, the villains that appear throughout the series, especially the White Rabbit, who seems to have stepped out of a demonic wonderland, and so many other aspects I could mention.

Esta nueva versión es de mis favoritas por muchos motivos: primero, los efectos visuales; segundo, la música elegida para la trama en cada capítulo; tercero, la personalidad de Dante, que evoluciona con cada episodio. No resulta ser un personaje plano sin historia; este, más bien, tiene un pasado que lo atormenta, y eso conecta con los fans. Cuarto, los villanos que aparecen a lo largo de la serie, sobre todo el Conejo Blanco, que parece salido del país de las maravillas demoníaco y así muchos otros aspectos que puedo ir nombrando.

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But the most important aspect of this new version is the overall plot. It's not just a massacre story with excessive gore and blood everywhere; it's a story that offers social commentary and political allegories reminiscent of systemic paranoia. The narrative shows us how the upper echelons of power exploit interdimensional panic to fuel their own propaganda machine and power structure. This layer of narrative maturity perfectly balances the frenetic action sequences.

Pero lo más importante de esta nueva versión es la trama en general, no es sólo una historia de masacre para ver en extremo escenas Gore y sangre por doquier, es una historia que relata la crítica social y alegorías políticas que recuerdan a la paranoia sistémica. La narrativa nos muestra cómo las altas esferas humanas se aprovechan del pánico interdimensional para alimentar su propia maquinaria de propaganda y poder. Esta capa de madurez argumental equilibra perfectamente las secuencias de acción desenfrenada.

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Of course, nods to old-school fans abound. From the imposing presence of the Force Edge sword to the spectacular opening sequence set to Limp Bizkit's "Rollin'," the series breathes the rebellious, heavy energy of the 2000s that gave birth to the video game. Moreover, the pace never falters; the season marches steadily toward a brutal climax that lays the foundation for the mythology of the Sparda universe and the fearsome King of the Underworld, Mundus.

Por supuesto, los guiños para los fanáticos de la vieja escuela están a la orden del día. Desde la imponente presencia de la espada Force Edge hasta la espectacular secuencia de apertura al ritmo de "Rollin" de Limp Bizkit, la serie respira la energía rebelde y pesada de los años 2000 que vio nacer al videojuego. Además, el ritmo no decae; la temporada avanza con paso firme hacia un clímax brutal que sienta las bases de la mitología del universo de Sparda y el temible Rey del Inframundo, Mundus.

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The first season of Devil May Cry works for both the veteran gamer looking for faithful gameplay and spectacular combos, and the casual anime viewer who enjoys a good urban dark fantasy story. It's not perfect, but it oozes so much attitude and style that it's impossible not to binge-watch it. If you're looking for a series with an electrifying soundtrack, mind-blowing animation, and an extremely charismatic protagonist, do yourself a favor and hit play on Netflix.

La primera temporada de Devil May Cry funciona tanto para el jugador veterano que busca fidelidad y combos espectaculares, como para el espectador casual de anime que disfruta de una buena historia de fantasía oscura urbana. No es perfecta, pero derrocha tanta actitud y estilo que es imposible no maratonearla. Si buscas una serie con una banda sonora electrizante, animación que te vuela la cabeza y un protagonista extremadamente carismático, hazte un favor y dale al play en Netflix.

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Por otra parte, al igual que el libro la trama nos hace reflexionar acerca de la hipocresía de la alta sociedad que casi siempre suele ser más rígida con las mujeres que con los hombres, a pesar de haber cometido la misma falta o pecado. Las mujeres se veían expuestas al escarnio, obligadas a aislarse de todo y de todos, lo cuál causaba un grave perjuicio a su salud mental, y es lo que se evidencia a través del personaje de Anna, mientras que otros hombres infieles como Vronsky o el propio hermanos de ella a los que la sociedad más bien parece premiar.

La escenografía y el vestuario estuvieron muy bien, realmente representa la majestuosidad de la aristocracia rusa del siglo XIX, sin lugar a dudas estéticamente hermoso y llamativo, es una obra maestra que desde que leí el libro quise ver representada en el cine, y aunque he visto varias versiones, me parece que esta, la del 2012 es la mejor, al menos en mi opinión.

Muchas gracias por su atención, nos vemos en otra ocasión, Dios mediante.

(Imagen hecha con el editor de canva)

Image made with the Canva editor

Hardhome (S5x08)

Airdate: 31 May 2015

Written by: David Benioff & D.B. Weiss Directed by: Miguel Sapochnik

Running Time: 60 minutes

By its midpoint, Game of Thrones had established a formidable tradition: if a truly grand, set-piece battle was to be depicted on screen, it would be saved for the penultimate episode of the season. From the Blackwater in Season 2 to the Watchers on the Wall in Season 4, the structural rhythm conditioned audiences to expect the climactic spectacle one episode before the finale, leaving the last instalment for fallout and narrative realignment. Hardhome, the eighth episode of the fifth season, deliberately strays from this tradition by moving that violent kind of spectacle slightly earlier in the run. This shift is a narrative gambit that fundamentally alters the season's pacing and thematic weight. The episode, written by showrunners David Benioff and D. B. Weiss, further deviates by refusing to let this battle be its sole focus. Instead, the first half is consumed by the usual, often formulaic, moving of various chess pieces across the show's sprawling geographic canvas, a structural choice that creates a jarring, yet ultimately effective, dichotomy.

The episode's opening movements feel like obligatory table-setting. In Meereen, the long-awaited meeting between Tyrion Lannister and Daenerys Targaryen finally occurs. Tyrion, employing his trademark wit and brutal honesty, not only convinces her to spare his life but to take him on as an advisor. In a neat encapsulation of his value, he then advises her to spare Jorah Mormont's life as well, yet still banish him for his past spying and lack of contrition. More significantly, Tyrion offers a sobering assessment of Daenerys's situation, suggesting that consolidating her rule in Slaver's Bay would be an achievement enough and that the Iron Throne might not be worth the immense hassle. Daenerys, however, remains steadfast in her revolutionary confidence, asserting she can transform Westeros just as she ended slavery in Essos. Meanwhile, the banished Jorah, in a grim display of devotion, descends into the fighting pits. This sequence, while rich in dialogue and character, feels like a necessary but perfunctory step in a plotline that has been marking time for much of the season.

Elsewhere, the narrative checks in on other pieces. In Braavos, Arya Stark is given her first assassination mission by the Faceless Men, adopting the identity of a clam-seller named Lanna to reconnoitre her target, the corrupt insurance seller known as the "Thin Man" (Oengus MacNamarra). In King's Landing, Cersei Lannister languishes in a Faith Militant cell, her only visitor the Qyburn, who informs her that her despised uncle Kevan has become the new Hand of the King. Qyburn's suggestion—that a public confession is her only way out—is met with stubborn resistance. In Winterfell, a powerful scene sees Sansa Stark confront Theon Greyjoy, who, amidst his broken state, finally admits his guilt and reveals the vital truth that her brothers Bran and Rickon are alive. This moment of potential catharsis is undercut by the chilling strategy session between Roose and Ramsay Bolton; Roose advocates starving out Stannis's army from within Winterfell's walls, while the psychopathic Ramsay proposes a guerrilla raid to destroy the enemy's supplies. Finally, at the Wall, Samwell Tarly, recovering from his wounds, attempts to tutor the vengeful Olly on the necessity of allying with the wildlings against the greater existential threat of the White Walkers.

These vignettes are competently executed but collectively contribute to a sense of narrative inertia. This is the episode's central tension: it is a tale of two halves, where the first serves primarily to advance storylines, and the second delivers a payoff of such staggering scale that it threatens to eclipse everything that preceded it.

That payoff is, of course, the extended sequence at Hardhome. Jon Snow and Tormund Giantsbane arrive at the large wildling settlement to plead for an alliance. The political negotiations are tense and fragmented, highlighting the deep-seated mistrust on both sides of the Wall. Tormund establishes his authority by brutally killing the mocking Lord of Bones (Ross O’Hennessy), but the council of elders remains divided. The Thenn leader Loboda (Zahary Baharov) is vehemently opposed, while the respected warrior Karsi (Birgitte Hjort Sørensen) and the giant Wun Wun see the logic in Jon's plea. The debate is rendered moot when the Army of the Dead attacks. What follows is not a battle but a horrific slaughter, a relentless onslaught that stands as the most spectacular and terrifying sequence in Season 5, and arguably the entire series to that point.

The production of this sequence was a monumental achievement, particularly given its troubled genesis. Originally planned for Iceland, location losses forced a reconstruction in Northern Ireland, creating significant budget pressures. Director Miguel Sapochnik, who would later helm the acclaimed Battle of the Bastards, managed these constraints masterfully. His direction combines intense, chaotic action with a palpable sense of dread, employing a principle where the most brutal atrocities are often implied rather than explicitly shown. The choreography is visceral, and the prosthetic makeup for the wights creates a genuinely unsettling variety of undead forms, from freshly turned humans to decomposed skeletons. Costume designer Michele Clapton's work subtly delineates the different wildling factions, grounding the chaos in a tangible cultural reality. Crucially, Sapochnik ensures that amidst the spectacle, the fate of characters matters. Performances by Zahary Baharov as the stubborn Loboda and, especially, Birgitte Hjort Sørensen as the resilient Karsi make the audience care about their survival, investing the carnage with genuine emotional stakes.

The sequence is also groundbreaking as the first event of such scale to occur in broad daylight on the show, stripping away the hiding place of darkness and presenting the horror in cold, clear detail. Narratively, it is a huge departure from George R. R. Martin's source material, where the disaster at Hardhome is only mentioned indirectly through dispatches received at the Wall. The decision to depict it directly pays enormous dividends. Within the chaos, key revelations occur: dragonglass can kill White Walkers, but more importantly, Jon Snow discovers that his Valyrian steel sword, Longclaw, is equally lethal. This moment of hope is brutally undercut by the finale. As Jon escapes by boat, he watches the Night King arrive on the shore and raise all the fallen—including the Karsi—as new soldiers in his army. The silent, raised-arm gesture is one of the series' most iconic and chilling images, a stark reminder that every death merely strengthens the enemy.

This concluding moment elevates Hardhome from a great action set-piece to the most unsettling and thematically potent scene of the entire series. It viscerally reminds the audience that the intricate political intrigues, the game of thrones itself, mean nothing compared to the apocalyptic horror gathering in the North. The episode argues that the petty squabbles for power south of the Wall are a dangerous distraction from the existential threat that, if not stopped, will consume all of humanity.

The inevitable critique, however, is that the sheer power of the Hardhome sequence makes the expository dialogues of the first half look pedestrian by comparison. The cutting between Cersei's cell and the frozen shore can feel tonally discordant, almost as if the episode is impatient to get to its main event. Yet, to dismiss this as a flaw is to misunderstand the episode's design. The "banal" political manoeuvring is the very thing the battle renders trivial. The contrast is the point. The episode's structure forces the viewer to sit through the familiar chess moves only to have the board itself violently overturned by a force that does not play by any rules of the game.

Despite this minor structural awkwardness, Hardhome is a very good episode, arguably the season's peak. It arrived at a crucial time, following the controversial and widely criticised Unbowed, Unbent, Unbroken, which featured Sansa Stark's brutal marital rape. "Hardhome" demonstrated that Game of Thrones could still deliver awe-inspiring, narratively significant spectacle even as it strayed further from Martin's source material. It blended technical mastery with profound thematic resonance, delivering a payoff that was both viscerally thrilling and deeply horrifying. The episode restored faith in the show's capacity for grandeur and served as a terrifying promise of the winter that was finally, truly, coming.

RATING: 8/10 (+++)

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The Gift (S5x07)

Airdate: 24 May 2015

Written by: David Benioff & D.B. Weiss Directed by: Miguel Sapochnik

Running Time: 58 minutes

Following the profoundly contentious and narratively dubious conclusion of Unbowed, Unbent, Unbroken – Sansa Stark’s brutal marital rape at the hands of Ramsay Bolton – the subsequent episode, The Gif”, initially presents itself as a formulaic calm before the storm. It adopts the series’ now-standard structure of checking in on its scattered, sprawling cast, methodically advancing each piece on the board. This gives the instalent a procedural, almost predictable rhythm, a necessary breather after the previous episode’s emotional violence. Yet, to dismiss it as mere table-setting would be a mistake. Beneath its composed surface, The Gift is busily laying explosive charges under several key characters, culminating in one of the season’s most melodramatically potent cliffhangers. It is an episode of quiet desperation, failed machinations, and sudden, seismic shifts, all directed with a steady hand by first-timer Miguel Sapochnik, who would later become the series’ premier architect of large-scale chaos.

The narrative, as ever, hopscotches across the map. At the Wall, the episode handles two significant passings. The first is the gentle, natural death of Maester Aemon, a moment rendered uniquely moving by the knowledge that actor Peter Vaughan, like his character, was blind during filming and passed away a year after the season aired. It is a rare moment of peace snatched from a world of strife. The second passing is of Jon Snow’s presence, as he departs with Tormund Giantsbane for the doomed mission to Hardhome. In his absence, Samwell Tarly’s fragile authority is tested. His attempt to protect Gilly from the crude sexual harassment of two Night’s Watchmen results in a beating – a clumsy, televisual alternative to the books’ more plausible scenario where alcohol, not fisticuffs, lowers inhibitions. While the subsequent love scene between Sam and Gilly is commendably unexploitative and sweet, the preceding violence feels like a manufactured shortcut to Sam’s moment of courage. The intervention of Ghost, Jon’s direwolf, to end the assault is a welcome nod to the supernatural bonds of the Stark children, but it underscores the episode’s occasional reliance on convenient, crowd-pleasing solutions.

In Winterfell, the atmosphere is one of claustrophobic dread. Sansa’s flicker of hope, kindled by a seemingly broken Theon’s agreement to help her escape, is cruelly extinguished when he betrays her to Ramsay. The consequence is the flaying of an old woman, a graphic reminder of the Bolton signature. The ensuing conversation between Sansa and Ramsay is a masterclass in psychological torment, with Sophie Turner and Iwan Rheon excelling. Sansa, learning fast, points out the threat posed by Walda Frey’s unborn son to Ramsay’s inheritance. Ramsay, however, is chillingly confident, correctly diagnosing that the advancing winter is his greatest ally against the besieging Stannis Baratheon. This strategic insight – that Southern soldiers will perish where Northerners endure – is a rare moment of tactical acumen for the otherwise psychopathic character, grounding his villainy in a cold, pragmatic truth.

That truth is vividly illustrated in Stannis’s camp, where the King’s army is quite literally melting away. Men and horses freeze and starve, a visual representation of a campaign unravelling. Ser Davos, the voice of grim reason, advocates a retreat to wait out the winter. Stannis, the inflexible iron, refuses. This desperation creates the fertile ground for Melisandre’s most horrific proposal: the sacrifice of Princess Shireen to the Lord of Light. This plotline, a significant deviation from George R.R. Martin’s novels (where a different royal bastard is demanded), draws clear and intentional parallels to the myth of Iphigenia from the Trojan War. It is a testament to the show’s willingness to forge its own, often darker path, though one questions whether this narrative invention serves character or merely shock.

Elsewhere, the quality of deviation is less inspired. In Dorne, the plot remains the season’s glaring weak point. Jaime’s fruitless plea to Myrcella and the Sand Snakes’ imprisonment could have been tense. Instead, the dungeon scene devolves into what can only be described as gratuitous exploitation. The prolonged focus on Tyene Sand (Rosabell Laurenti Sellers) disrobing feels like a transparent excuse for nudity, ticking an obligatory “spicy” quota for the episode. The subplot is saved from utter absurdity only by Jerome Flynn’s charismatic performance; Bronn’s defiant, excellent rendition of “The Dornishman’s Wife” during this scene provides a much-needed dash of authentic Thrones grit and humour, even as the framing undermines it.

The episode’s centrepiece, however, and its namesake, unfolds in Meereen. Here, the writing is notably more confident. Jorah Mormont, having captured Tyrion Lannister, is himself enslaved and sold to the fight pits of Yezzan zo Qaggaz. Tyrion, with characteristic wit, engineers his own purchase. Their arrival at the Great Pit of Daznak coincides with Daenerys’s reluctant attendance, advised by Hizdahr zo Loraq to witness the “culture” she has suppressed. Her visible disgust at the brutality is palpable. This setting provides the perfect, public stage for Jorah’s dramatic re-emergence into her life. Throwing aside his helmet after dispatching a foe, he presents a chained Tyrion with the simple declaration, “A gift.” It is a fantastically melodramatic cliffhanger, the kind of convening of major characters that the television medium excels at, and it irrevocably steers the series into uncharted territory. This moment is critically important, as it marks the point where Tyrion’s storyline definitively advances beyond the latest confirmed events in Martin’s novels. The Gift thus becomes a clear signal that the television series, for better and worse, is now committed to forging its own path, free from the constraints of its source material.

Nowhere is the adaptation’s handling of source material more faithful – and effective – than in King’s Landing. The political intrigue here is razor-sharp. Lady Olenna’s attempt to bribe the High Sparrow fails spectacularly, revealing the depth of the sparrow’s fervour. King Tommen’s impotent despair is pitiable. And Cersei Lannister, believing herself the ultimate player, makes her fatal error. Her gloating visit to Margaery Tyrell’s cell is a delicious moment of villainous triumph. Yet, in her subsequent meeting with the High Sparrow, the tables are turned with breathtaking ruthlessness. Accused of her own sexual crimes (specifically, her affair with Lancel Lannister), Cersei is arrested and imprisoned. This comeuppance, taken directly from the novels, is intensely audience-pleasing. It delivers poetic justice, giving the female villain a taste of the humiliation and powerlessness she has so often inflicted on others, all while feeling entirely believable within the logic of the story.

Directed by Miguel Sapochnik in his series debut, The Gift exhibits a confident, unfussy style that would later define his legendary battle episodes. He manages the episode’s numerous tonal shifts adeptly, from the quiet sorrow of Aemon’s death to the spectacle of the fighting pits. The storylines are well-condensed and comprehensive, each receiving just enough time to advance meaningfully. In essence, The Gift is a workmanlike but crucial episode. It is burdened by some of Season Five’s worst tendencies – exploitative nudity, occasionally clumsy writing – yet it is elevated by strong performances, several genuinely powerful moments, and one of the series’ most iconic cliffhangers.

RATING: 6/10 (++)

==

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