Thursday , January 20 2022

Ancient Contemporary Cinema Cinema


"The Secret of Petra" *** ½
DRAMA (2018)
Directed by: Haime Rosalles
Interpretations: Barbara Lenny, Mariza Paredes, Hano Botey, Alex Brademul

Spanish specialist Weimé Rosales ("New Year") offers us the most "accessible" of films that have just arrived from the recently broadcasting Thessaloniki Festival. "Greece and a Greek culture are very important to me. Even a flight over the country to come here has enabled me," Rosalie told us at the press conference. Usually, if you believe that his "Petra" is his ancient tragedy, given in the modern world.

The film composer is three dimensional, who is a famous artist country villa to study with. In fact, he thinks he is a father. Soon, the hard and foolish Here (the artist) and his wife and son will be good in the life of Petra, with what constitutes the core of the disaster gradually.

"When I finish a movie, I'll feel like Sisyphus who has carried the top of the rocky mountain and then know he should start again from the start," he said. Haime Rosalas, using another Greek myth. Her harness, in the hopeless search for her identity, reveals secrets of the past that can be flattened. His destiny, such as those around him, seems to be awarded by a code above judging sentences before giving any kind of cleaning.

The truth

Rosalie cares for all this to reach the viewer in her own unique way. The camera moves slowly, almost a hypnotist among the faces, we often hear talking much earlier than a visual connection with them. The narrative is divided into chapters, but they do not always maintain a chronological order, with their titles often betraying developments, such as in the ancient tragedy, viewers are aware of the truth that heroes will ignore and they will (usually) learn a hard way.

Of course, because we are in 2018 and not in the 5th century BC, many of the narrative elements – or all – are too much to imagine. Rosalie tries to balance them based on the very terrestrial interpretations of her composers. The improvisation and maximum (coherent) validity have chosen for its key role as the owner of the house where most of the movie is played. "Almodovar, for example, tells the actors:" I want to bring up the glass with three fingers of your left hand and drink two sips. "I just say, if you can, you can catch the glass or not. It's your choice," explain Spanish director.

Barometer per week

In "Girl in the Spider's Web" we see another cinematic transfer of the best selling series of novels with Lisbeth Salander. "The Crown" interprets the dynamic heroine this time, doing the best, with a script that can help it a bit. A dangerous mission with enemies who want to eradicate it and the only emission of the legendary journalist Michael Blumkvist. And the dark past, of course, is always present. We've all seen it and have done a lot better.

In the Shadow Valley, we are watching the Aslak six-year-old, who lives with a mother on a mysterious and wonderful forest fringe. A bewolf story that wears the region's sheep will draw out the child's imagination, which (inevitably) will come to be explored.

"Do not Touch Me" is the first Romania feature, Adina Pindilie, also awarded Golden Golden's last Berlin Festival. In this series of characters, as well as the director themselves, they undertake a process of searching for enthusiasm, physical relationships and social prejudice. However, interesting ideas are transmitted to the screen with a lot of sophistication, teaching and mood about "originality" without real cinematic content.

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