tag:blogger.com,1999:blog-88782619639562076042024-03-05T09:12:43.226-08:00Los mejores planosAntonio Cuestahttp://www.blogger.com/profile/00890856297468075359noreply@blogger.comBlogger15125tag:blogger.com,1999:blog-8878261963956207604.post-56978441191126562013-09-04T09:22:00.001-07:002013-09-04T09:25:40.880-07:00Spring Breakers (2012)<div style="text-align: center;">
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<i><b>Spring Breakers </b></i><b>(2012)</b></div>
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<b>Harmony Korine<br /> </b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCS0cPt-N-c6-x6VuYwPB4O7-rBfezkKqpAUtPO3XhyVnt0xNNvI5GAXt9j3Ar5YS4MUG0-65PnMYekAU-fWCB2Iq3nWlqgutDDOwkP1hXDsrHJSdJXk2vldV5ZlinYyptuUyc6JemX2o/s1600/spring+1554477.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCS0cPt-N-c6-x6VuYwPB4O7-rBfezkKqpAUtPO3XhyVnt0xNNvI5GAXt9j3Ar5YS4MUG0-65PnMYekAU-fWCB2Iq3nWlqgutDDOwkP1hXDsrHJSdJXk2vldV5ZlinYyptuUyc6JemX2o/s400/spring+1554477.jpg" width="400" /></a></div>
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<i>Spring Breakers</i> is a wicked, teen and fantasized overdose, in a good and cinematic sense. Harmony Korine explores the difficulty of American teenagers in a way I had never seen before, mixing all the narrative possibilities and letting our hearts collapse at the very end of the story. I would like to express my deepest admiration to the director's brave use of color. Fluorescent has never been so intoxicating.<br />
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I think I lost the count of the shots when we still were at minute fifteen. This was one crazy movie. Cinematographer Benoît Debie never loses the indication of making it seem like a big hangover, like a eternal overdose, like a spiritual confusion. However, there weren't many memorable shots. Bronze went to one drink and drug scene when the style suddenly changes to vintage. Silver went to the longest shot in the entire film, the robbery to the cafe, brilliantly told from the driver's perspective.<br />
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But the best shot, to me, was this. <i>Spring Breakers</i> is a story about dependence, about troubled girls who need a leader, a figure they find out in Alien, played by James Franco. This shot proves all the big themes in the movie: Lost of identity, leadership and a long journey... Of psychedelic colors!</div>
Antonio Cuestahttp://www.blogger.com/profile/00890856297468075359noreply@blogger.com0tag:blogger.com,1999:blog-8878261963956207604.post-76757597618248021832013-07-14T17:00:00.002-07:002013-07-14T17:01:53.680-07:00Rebecca (1940)<div style="text-align: center;">
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<i><b>Rebecca </b></i><b>(1940)</b></div>
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<b>Alfred Hitchcock<br /> </b></div>
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Subtle, wicked, haunting, thrilling, scary... That's the way to describe <i>Rebecca</i>, Hitchcock's masterpiece. Oscar winner cinematographer George Barnes creates an eerie atmosphere where the sense of intimidation is palpable. We descend to Mrs. de Winter (Joan Fontaine) madness as she becomes convinced that she's replacing a ghost. The thin line between good and evil is disturbed and broken, and we get that from the exquisite black and white images and the composition of elements and gothic style.</div>
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The story is quiet and builds pure suspense towards the damaged ending. That mansion gave me chills as well as the presence of Mrs. Danvers (Judith Anderson), because everything is there for a reason. That's Golden Hollywood narrative. Hitchcock uses the camera to recreate the death of Rebecca, but most important, he moves it, like nobody else does, to stay with the heroine of the movie. It seems like she's locked in that house, trying to escape, and finally overcomes all the obstacles and succeeds as the new wife.</div>
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And that personal journey was essential in my choice for best shot. The bronze spot is for the service shot. Look closely. The men in black, the women in white. A clue? The silver spot is for Mrs. Danvers most iconic moment in the entire film, as she seems to be always watching, even behind the curtains. And gold is Mrs. de Winter watching her honeymoon video, extremely upset about what's happening in the house and around her and trying to communicate her feelings to her husband (Laurence Olivier), while her face gets softly lighted up. It's a moment of extreme tension as the character is about to explode. A perfect, cinematic moment.</div>
Antonio Cuestahttp://www.blogger.com/profile/00890856297468075359noreply@blogger.com0tag:blogger.com,1999:blog-8878261963956207604.post-4886400771649822262013-07-02T13:00:00.003-07:002013-07-02T13:02:13.814-07:00Fantastic Mr. Fox (2009)<div class="separator" style="clear: both; text-align: center;">
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<i><b>Fantastic Mr. Fox </b></i><b>(2009)</b></div>
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<b>Wes Anderson<br /> </b></div>
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You can find strange my choices for best shots in <i>Fantastic Mr. Fox</i> because the selection is dark and features realistic imagery for an animated feature, given Anderson's tendency and love for bright colors and smart composition. I really liked the movie, it's pretty entertaining and touching, sometimes funny and special in the treatment of the characters relationships. I really wanted to post a shot of Mr. and Mrs. Fox together, but I thought these choices told more to the story. They were more important, adding meaning to the theme and motifs. Anyway, the cinematography work in this movie is exquisite. Tristan Oliver really understands the universe of Wes Anderson and explores Roald Dahl's story with precision and freedom.</div>
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I remembered <i>Chicken Run</i> when I watched this, but only because the characters were animals and their action took place in a farm, amongst other locations. The visuals are simply outstanding. I really wanted to get inside that world and play with the foxes! There were wonderful characters and Anderson presents them and puts them in specific positions, sometimes to make us laugh, sometimes to make us understand their own loneliness because <i>Fantastic Mr. Fox</i> is, above all, a story about loneliness and the meaning of life, even if they're (wild) animals. This decision causes a result of charming experience.</div>
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The bronze went to a very visual, painting, colorful shot. I chose it because it gives the audience the sense of company for Mr. Fox in his robbing activity. Also, the shining yellow moon gives the characters a place on Earth, on (comedy) misery. The silver was for a devastating moment that Anderson creates with the big shot of the rain falling over Mr. Fox in the climax. He has been silly all the story, as her own wife says, "You never listen to anyone", but in that moment you can feel sorry for him. And the gold was for a comedic relief, Mr. Fox invading the farm, and making the farmer look like a total inept. I think it's the perfect conclusion for this Wes Anderson movie. It keeps its spirit of pathetic characters, great visual composition and the idea of a perfectly imaginary world.</div>
Antonio Cuestahttp://www.blogger.com/profile/00890856297468075359noreply@blogger.com0tag:blogger.com,1999:blog-8878261963956207604.post-42669198522011514402013-06-22T12:15:00.000-07:002013-06-22T12:15:51.730-07:00A Streetcar Named Desire (1951)<div style="text-align: center;">
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<i><b>A Streetcar named Desire </b></i><b>(1951)</b></div>
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<b>Elia Kazan</b></div>
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<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuNYvYBeRXg4VYKNBsouylQg8DTJLdXD_b7SZMWSOfU9hRqdIiaiiP_B5xbHcr9xtuYrPqAH81aem8jAiwdxGu_0WRNvYtwX159JjI0rnXQ7Xx1sBk6pfdouJHXyeUwZ9EzywLBoVp-0c/s1600/tranvia+3444.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuNYvYBeRXg4VYKNBsouylQg8DTJLdXD_b7SZMWSOfU9hRqdIiaiiP_B5xbHcr9xtuYrPqAH81aem8jAiwdxGu_0WRNvYtwX159JjI0rnXQ7Xx1sBk6pfdouJHXyeUwZ9EzywLBoVp-0c/s400/tranvia+3444.jpg" width="400" /></a></b></div>
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A minute after <i>A Streetcar named Desire</i> ended, I thought that it was an amazing movie with one of the best ensemble casts ever. A tour-de-force. But its strength and freshness also resides in the excellent work by Mr. Elia Kazan and cinematographer Harry Stradling. They move the camera around those disturbed characters, with their lonely lives and their hidden secrets and motifs, in a very seductive way, making them look mysterious, between the lights and the shadows, and emotional, with the multiple close-ups and sometimes poetical and metaphorical images.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyVvDr4oaRLS2YfnrFmwXzD_12WZfk-X3ovnOcczbbyUETNyx8NpJoELcT0eIxIwl_Wwl24-L-_kJkk10XCiFZdk6m3sSkPmmrJTPJjQy179L82rcmpjuHPNvzMeHSdDbB_gllzdOWQhg/s1600/tranvia+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyVvDr4oaRLS2YfnrFmwXzD_12WZfk-X3ovnOcczbbyUETNyx8NpJoELcT0eIxIwl_Wwl24-L-_kJkk10XCiFZdk6m3sSkPmmrJTPJjQy179L82rcmpjuHPNvzMeHSdDbB_gllzdOWQhg/s400/tranvia+2.jpg" width="400" /></a> </div>
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Intense, defiant, extraordinary piece of human examination, <i>A Streetcar named Desire</i> lives in an atmosphere that is untamed since the beginning, when Blanche arrives to that dirty, noisy, smokey New Orleans. The sense of nervous breakdown is vivid all the time due to the extreme uses that Kazan makes of the image: Witnessing or Judging. When presenting characters, it's outstanding, but the best shots of the movie are precisely those who don't involve first impressions, but definitional moments in the dramatic arcs of the characters.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggtGqfqqf21dCOloHFqy0Xk1zTil66D2JJvP11uUx5KRofS6QT99VNSCDpF32oVW4O7-caf0InGdUADbrv1mTtwiT4pFU9HJlD5hwuWgvwl-8sv_tMX5Z_ww2u7rlzmLrkJd0baa2ra3c/s1600/tranvia+44.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggtGqfqqf21dCOloHFqy0Xk1zTil66D2JJvP11uUx5KRofS6QT99VNSCDpF32oVW4O7-caf0InGdUADbrv1mTtwiT4pFU9HJlD5hwuWgvwl-8sv_tMX5Z_ww2u7rlzmLrkJd0baa2ra3c/s400/tranvia+44.jpg" width="400" /></a></div>
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GOLD</div>
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Bronze was the final scene involving Blanche and the Doctor. Silver was Mitch's meeting Blanche in the middle of the poker game. And gold has to be the showstopping moment, when Stella decides to go down the stairs and forgive Stanley. It's a fearful scene because we've seen so much violence, verbal and physical, that audience should gasp looking at it. Finally, we realize that it's a life of subservience and drudgery, a deep and true reflection on that time women roles. But, most important, the movie is a struggle between appearances and reality. The fantasy, embodied by Blanche, confronts the reality, we mean Stanley, and the result is tragic as it could only be. Put special attention to the cinematography when Blanche moves around the Kowalski house, trying to hide her real age. She hides herself in the shadows. And, sadly, she stays there.</div>
Antonio Cuestahttp://www.blogger.com/profile/00890856297468075359noreply@blogger.com0tag:blogger.com,1999:blog-8878261963956207604.post-79374035619652124852013-06-12T05:09:00.002-07:002013-06-12T05:12:32.575-07:00Beau Travail (1999)<h3 class="post-title entry-title" itemprop="name">
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<i><b>Beau Travail </b></i><b>(1999)</b></div>
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<b>Claire Denis</b></div>
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<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHU4_gjnQWZJKLL4_f-V_YKX8l8uRIwJEwfqWzhSDhD0uLdBvK0ryARUurkTfJApmDewBB6ETATq9P8DeI9m_VNzjG5S9jztmpr6MBqtn8E-MXw4oc3r1WsA3u8tLbwiZY4Sw_gAHpmzQ/s1600/beau+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHU4_gjnQWZJKLL4_f-V_YKX8l8uRIwJEwfqWzhSDhD0uLdBvK0ryARUurkTfJApmDewBB6ETATq9P8DeI9m_VNzjG5S9jztmpr6MBqtn8E-MXw4oc3r1WsA3u8tLbwiZY4Sw_gAHpmzQ/s400/beau+2.jpg" width="400" /></a></b> </div>
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I understand that Claire Denis' films are not for everyone. In fact, that's the best thing someone could say about any filmmaker in the world. Denis is very specific, she knows what she has to shoot, and she is not afraid. She often creates her visuals with brilliant metaphors, suggestive ideas and experimental non lineal narrative. <i>Beau Travail</i> is about repressed human feelings. You know, homosexuality.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNTt9NOR4slcAJ-VeBabM85moeWCTmsROK911G1KF-jUTg6e-RvsxCogTy_XBp9kjHo8f0lSUfPVNj17VQ7svxUIkr4W3fDIHQrsDgtk8Y3w9rmnPv755INVKMm40isHBX9J__mg3t90w/s1600/beau+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNTt9NOR4slcAJ-VeBabM85moeWCTmsROK911G1KF-jUTg6e-RvsxCogTy_XBp9kjHo8f0lSUfPVNj17VQ7svxUIkr4W3fDIHQrsDgtk8Y3w9rmnPv755INVKMm40isHBX9J__mg3t90w/s400/beau+1.jpg" width="400" /></a> </div>
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In the context of such a violent environment, the war is inside the characters. A defiant leader, a possible lover, and the enemy. All of them men. We are here to talk about the beautiful cinematography work by Agnes Godard, but Denis creates an atmosphere not only with images but also with sounds, specially silences. War receives a different treatment here, focusing more on internal troubles. The outside work, that <i>Beau Travail</i> of the title, is perfectly executed, but their insecurities are wild and about to collapse.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO_VvcWc0XE-G2-60qtNtGh6wI-cC8GcpQPxOTKIfKF8dpS7_rCCKzmcMytDjKvU4GXzAHpdmxVW6HK0MrSGWuFxaKxMS50mCg6_qxFKIp2GLfUubvrVfD3SpKn2V_O8AN5Mw8Nlq-OKU/s1600/beau+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO_VvcWc0XE-G2-60qtNtGh6wI-cC8GcpQPxOTKIfKF8dpS7_rCCKzmcMytDjKvU4GXzAHpdmxVW6HK0MrSGWuFxaKxMS50mCg6_qxFKIp2GLfUubvrVfD3SpKn2V_O8AN5Mw8Nlq-OKU/s400/beau+3.jpg" width="400" /></a> </div>
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GOLD</div>
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In my opinion, the best shot of <i>Beau Travail</i> is a very hypnotic, strange, evocative one. I didn't expect such originality. There's a scene, at night, where the leader played by the great Denis Lavant, is observing the other men and, exactly, the one he has deep feelings for. With the sound of him smoking the cigarette, and the image of the fire and the smoke, you can not only feel the tension of the character, but getting inside his own skin. It's the perfect climax to a wonderful visual experience. Highly recommended.</div>
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Antonio Cuestahttp://www.blogger.com/profile/00890856297468075359noreply@blogger.com0tag:blogger.com,1999:blog-8878261963956207604.post-16483990594321170702013-06-10T09:34:00.001-07:002013-06-10T09:35:52.111-07:00Compliance (2012)<div style="text-align: center;">
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<i><b>Compliance </b></i><b>(2012)</b></div>
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<b>Craig Zobel</b><br />
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<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmSJFERb4WgVsK46Mb7PP8gcKyoBru8VYTmscFyCFiZZqwttzZQx7n8L1dT4fWNscKAhgxo9JvNSpt12JfyUHt-usqAK2kVw-cNkBzedac_MDDr7Lp6vJtUPcQZOp8b6YA8xOly6lialc/s1600/compliance+5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmSJFERb4WgVsK46Mb7PP8gcKyoBru8VYTmscFyCFiZZqwttzZQx7n8L1dT4fWNscKAhgxo9JvNSpt12JfyUHt-usqAK2kVw-cNkBzedac_MDDr7Lp6vJtUPcQZOp8b6YA8xOly6lialc/s400/compliance+5.jpg" width="400" /></a></b></div>
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BRONZE</div>
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Here we have a little movie called <i>Compliance</i>, which came out last year and was screened in various film festivals, gaining buzz for Ann Dowd's performance as a fast food restaurant manager. Being what it is, a movie whose empathy and interest relies on the subject, it's perfectly understandable that controversy appeared near the reception. I would say that, yes, it was pretty unbelievable, but those characters were cunningly written and played by a nice group of actors with spontaneous passion.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizQKisqraKrSWOMPd533j_hBnpkyWODDcHvq0xIr2VNfJMEXBpxyMUvQ3UQs86OA8WnUqCRctInykIq_UQqzQMCxDBJTxEvRMUOJph05My0E6J3pnjgRXvUq-JpCc8VeQcykto7SfTT1c/s1600/compliance+4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizQKisqraKrSWOMPd533j_hBnpkyWODDcHvq0xIr2VNfJMEXBpxyMUvQ3UQs86OA8WnUqCRctInykIq_UQqzQMCxDBJTxEvRMUOJph05My0E6J3pnjgRXvUq-JpCc8VeQcykto7SfTT1c/s400/compliance+4.jpg" width="400" /></a></div>
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SILVER</div>
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The plot is simple, is less important than the characters. We have to wait patiently for the information to come. But watching
the film again today I paid attention to the visual storytelling
and its strange calm. I say strange calm because there is so much tension in the story, focusing on one day of work, that a baroque composition of visual elements could have damaged the fresh spirit that director Craig Zobel and cinematographer Adam Stone deliver. It's funny how the audience can feel idiotic sometimes, but the characters themselves are idiotic no matter what.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOF-f19sAL8TPj36ChpO43l9mbIQadDufD4bza5HmV8WOhCbXgPoAi20H5_lT7WfrrcJPQMrg-PvYFvgbrGVn6sKS7jlLNROVr8w_CuNT3SbGLrUmMMM7ZOnrMWhW1AlwRPn7DwPP4pV0/s1600/compliance+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOF-f19sAL8TPj36ChpO43l9mbIQadDufD4bza5HmV8WOhCbXgPoAi20H5_lT7WfrrcJPQMrg-PvYFvgbrGVn6sKS7jlLNROVr8w_CuNT3SbGLrUmMMM7ZOnrMWhW1AlwRPn7DwPP4pV0/s400/compliance+1.jpg" width="400" /></a></div>
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GOLD</div>
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The camera walks, dances, moves around those poor teenagers, full of empty dreams and wrong ideas, whose leader is as ignorant as them. My choice for the best shot in <i>Compliance</i> is wild, but it shocked me and felt extreme. The suggestion of the thin body and the presence of the man make the white trash society a creepy place to live. Such minimalism is enough for the audience, because the image comes in a point of the story where you don't want the most frightening thing to happen. It's a moral movie with shots not so empty but hard to handle.</div>
Antonio Cuestahttp://www.blogger.com/profile/00890856297468075359noreply@blogger.com0tag:blogger.com,1999:blog-8878261963956207604.post-90416135265170816972013-05-15T10:22:00.003-07:002013-05-15T10:25:01.327-07:00The Talented Mr. Ripley (1999)<div style="text-align: center;">
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<i><b>The Talented Mr. Ripley </b></i><b>(1999)</b></div>
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<b>Anthony Minghella </b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWpsqNwfW7Kqzl1lwHfazB56RPUloehNcKA-1nQCNXXoM4c2ftrfvRA6Gb7SMYVBNulcGsh3CXsaONNhk21CWhgBHGaqNa0Kw0-gKZp2rTGRVMMki-CKCVVizDKGAZCAn-v6DQKFz8Lkk/s1600/ripley+5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"> </a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr0Ec4jb_RLEj0Vbfv4wsqZc4XHcsH9fmSD7i9wakJm8tyqmrnCtjNThzsf0kc9VHFWDCV7NiTqAMgsd6-52xOP4hxDkYP-SFv3yHPsuNdQFM-5xF1z1ApTDKcFdbNuA1q8zzQ-kwv2G4/s1600/ripley+9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr0Ec4jb_RLEj0Vbfv4wsqZc4XHcsH9fmSD7i9wakJm8tyqmrnCtjNThzsf0kc9VHFWDCV7NiTqAMgsd6-52xOP4hxDkYP-SFv3yHPsuNdQFM-5xF1z1ApTDKcFdbNuA1q8zzQ-kwv2G4/s320/ripley+9.jpg" width="320" /></a></div>
BRONZE</div>
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Let me start saying what a gorgeous movie <i>The Talented Mr. Ripley</i> is. It's impeccable. Such affirmation may seem exaggerated, but it's a risk I'm going to allow. Visually, it's a experience that drives you through Tom Ripley's lies, and it never loses the rhythm. The tension lives in the shots, in every one of them! The audience will feel intelligent and active watching this, exploring the consequences of the false identity. Special attention to the eyes of the actors, who are all brilliant. I had to choose one single look and it was Dickie Greenleaf's to his lover after she kills herself in the sea. It reveals a deep fear of the character, his eyes illuminate the shot, making it transcend immediately. And we're touched by it. Knocked out, specifically. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-F-3jIOy28KJen-U4l4I0o1JwNP8uQMSDmvujSAZFZhv-wprq5vqbkD1wtLeR7wMLPi01nEouLy1S7AuNSZ4yodHsO5f_KwYt45Qpifvi61aEKXoH3hpyBzef48Z3sQqgbXcj244PtQg/s1600/ripley+6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-F-3jIOy28KJen-U4l4I0o1JwNP8uQMSDmvujSAZFZhv-wprq5vqbkD1wtLeR7wMLPi01nEouLy1S7AuNSZ4yodHsO5f_KwYt45Qpifvi61aEKXoH3hpyBzef48Z3sQqgbXcj244PtQg/s320/ripley+6.jpg" width="320" /></a></div>
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SILVER</div>
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Director Anthony Minghella and cinematographer John Seale capture the intention of Patricia Highsmith's novel. It feels like a game where the identities get to know each other and then they collapse in the fatal and inevitable ending. It's a gift to see such elaborated composition inside the shot, using not only the actors and their position, but also the objects around them, creating incredible metaphors such as the image chosen for Silver Medal. Such complexity is just enigmatic and dark. And that's a cause of celebration for movie enthusiasts. Ripley's obsession with Dickie has amazing shots, all of them swimming in the sea of suspense, and perhaps we see some Hitchcock influence. Well, it definitely fits the storytelling.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWpsqNwfW7Kqzl1lwHfazB56RPUloehNcKA-1nQCNXXoM4c2ftrfvRA6Gb7SMYVBNulcGsh3CXsaONNhk21CWhgBHGaqNa0Kw0-gKZp2rTGRVMMki-CKCVVizDKGAZCAn-v6DQKFz8Lkk/s1600/ripley+5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWpsqNwfW7Kqzl1lwHfazB56RPUloehNcKA-1nQCNXXoM4c2ftrfvRA6Gb7SMYVBNulcGsh3CXsaONNhk21CWhgBHGaqNa0Kw0-gKZp2rTGRVMMki-CKCVVizDKGAZCAn-v6DQKFz8Lkk/s320/ripley+5.jpg" width="320" /></a></div>
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GOLD</div>
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Instead of going with one of the multiple epic shots that this movie has, I decided to choose this as the best for a simple reason. Being <i>The Talented Mr. Ripley</i> a movie about sexual tension, homoerotic relationships and the need of hiding yourself, this shot is a proof that, in the end, it's just a trivialization of North America's attitude in the 1950s on a foreign country like Italy. The past always returns, as so does with Tom, Dickie, Marge and Meredith. Every major character in the movie has to live with a mistake. They're caught in their web of fear, in their own perversity. They're not free. That's the opposite to the two Italian men in the shot who, even if we're not sure they're gay (One of them has previously flirted with a walking lady) they don't care about anything else. They're busy knotting a tie. We guess this would be Ripley's dream.</div>
Antonio Cuestahttp://www.blogger.com/profile/00890856297468075359noreply@blogger.com3tag:blogger.com,1999:blog-8878261963956207604.post-7745511133703359022013-05-06T07:37:00.000-07:002013-05-06T07:38:39.501-07:00Summertime (1955)<br />
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<i><b>Summertime </b></i><b>(1955)</b></div>
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<b>David Lean</b></div>
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BRONZE</div>
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This is the first time I've seen this film. It was delightful. The visual aspects of the story were surprisingly romantic, simple while touching, and the cinematography captures the desolation of Katharine Hepburn's character in a very unusual way, making her presence in Venice one of the best tourism stories I've experienced in my life as a movie enthusiastic. As usual in Lean's films, the train has a lot of importance, it's a symbol, a feeling, a state of mind. I found this shot simply gorgeous. It shows the energy of the stranger, her mood, her happiness, just before the sadness appears. <br />
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SILVER</div>
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Jack Hildyard makes Venice the other important character in the story. Let me say that, having been to Venice, the city is not so sad. It's simply beautiful, but Hildyard, as a good cinematographer, chooses just what is important for the character's evolution. We fall in love with the images, with the city's spirit. Lean uses the city's structure to show the feelings. Flowers on the water, the importance of the bridges, the lady falling down to the canals... I may not have chosen one of Hepburn's beautiful close up shots, given that her face, her eyes, were so revealing for the movie's understanding.</div>
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GOLD</div>
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To me, the best shot was this. It contains the essence of the movie, the story's theme. As we follow Hepburn in the city at the beginning of her holiday, we don't expect this to happen at all. It's like a punch in our hearts. Loneliness versus multitude. Sadness versus joy. We understand Hepburn even if we are not watching her face at that moment. It's just unnecessary. We also experience the town, the noise, the sense of an union between all the people present there. A perfect picture just interrupted by Hepburn, the stranger presence. Lean and Hildyard make that possible with enchanting visuals and rhythm, calm and poetry. <i>Summertime</i> is an impressive piece of art, and you should watch it right now if you haven't seen it yet.</div>
Antonio Cuestahttp://www.blogger.com/profile/00890856297468075359noreply@blogger.com1tag:blogger.com,1999:blog-8878261963956207604.post-67071685291655775542013-03-21T06:02:00.001-07:002013-03-21T06:02:53.621-07:00Django desencadenado (2012)<div style="text-align: center;">
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<i><b>Django desencadenado (Django unchained, 2012)</b></i></div>
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<b>Quentin Tarantino</b></div>
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BRONCE</div>
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Quentin Tarantino vuelve a contar con Robert Richardson después de <i>Malditos bastardos</i> (2009) para crear un universo feroz y sangriento pero con mucha frescura, diversión y originalidad. Aquí nos ofrece el viaje de un héroe llamado Django en busca de su mujer Broomhilda, no sólo interiormente, sino por una América seca y devastada que actúa de testimonio de un periodo histórico real, aquí transgredido por la interpretación del director.<br />
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La verdad sea dicha, a Tarantino le funcionan mejor en esta película los planos generales que los primeros planos. Dan una dimensión emocional más épica y están perfectamente elaborados pues no son banales, sino que siempre consideran el contexto de los personajes y lo utilizan dentro de la imagen de una manera astuta y fácil de entender. No fallan de nuevo los homenajes al spaghetti western y enriquecen el discurso, donde predomina siempre la jocosidad de la violencia. Clásico Tarantino.</div>
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ORO</div>
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Lejos de toda la polémica que trajo la cinta, queremos señalar el mejor plano de <i>Django desencadenado</i>. Ya en el clímax del film, el héroe se reencuentra con su mujer y se abrazan en un beso. Tarantino, en lugar de mostrar el momento en un primer plano, se recrea en la historia de dos personas separadas que ahora siempre estarán juntos. Dos personas, dos almas, dos sombras. Mucho se parece este plano al de <i>Malditos bastardos</i> que, a su vez, se inspiraba en <i>Centauros del desierto</i>, encuadra la acción en un juego de negros y blancos que ya venía haciendo la propia película desde el principio, más sutilmente, y que en este instante explota en su máxima creatividad.</div>
Antonio Cuestahttp://www.blogger.com/profile/00890856297468075359noreply@blogger.com0tag:blogger.com,1999:blog-8878261963956207604.post-37314899010011994642013-01-16T12:26:00.001-08:002013-01-16T12:30:33.701-08:00La Pianista (2001)<br />
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<i><b>La Pianista (La Pianiste, 2001)</b></i></div>
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<b>Michael Haneke</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZVHV5NvFQhDhfpAvKSw3nasrOrzVzgrpZQID18T5T_u8f9lF2EPH_3qEUQNdOGYoHgZy9DlugciUSPTVjUpKvtf7bHArYf8MjzcvEFZGhkO0SBSMVzxtDvcqnUa4yrFs2u1IUHBpcQm8/s1600/La+Pianista+3.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZVHV5NvFQhDhfpAvKSw3nasrOrzVzgrpZQID18T5T_u8f9lF2EPH_3qEUQNdOGYoHgZy9DlugciUSPTVjUpKvtf7bHArYf8MjzcvEFZGhkO0SBSMVzxtDvcqnUa4yrFs2u1IUHBpcQm8/s400/La+Pianista+3.JPG" width="400" /></a> </div>
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BRONCE</div>
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Haneke contó con su habitual Christian Berger para trasladar en imágenes el asfixiante y sadomasoquista mundo de Erika, una profesora de piano. Un universo austero, rígido, normativo, machista y perfectamente estructurado, donde tienen cabida los clásicos planos secuencia del austriaco y una paleta de color fría y sin excesos.<br />
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La vida de esta mujer se ve alterada con la llegada de un joven que quiere ser su alumno en unas clases magistrales. Alterada para siempre para él también. Haneke saca el mayor jugo de sus localizaciones y nos brinda algunos planos absolutamente brillantes por las metáforas que implican y el terrible mensaje que lanzan. Tampoco deja atrás, y sólo cuando es dramáticamente necesario, el primer plano para mostrar el sentimiento más descarnado de los personajes.</div>
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ORO</div>
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<i>La Pianista</i> es la historia de una mujer oprimida y confundida por la educación que ha recibido pero, sobre todo, por la inferioridad autoaprendida con respecto al hombre. Una historia de cárceles, de jaulas, de celdas... donde la salida tal vez exista, el tiempo pasa mientras en el piano se interpreta a Schubert, en los aparcamientos se practica el voyeurismo o en la casa se reciben palizas. De ahí que el mejor plano del film sea aquel que muestra a Erika y su madre subiendo en ascensor al recital tras dejar fuera a Walter. Pero éste sube las escaleras velozmente y las adelanta. El hecho de que veamos lo que pasa desde el interior del elevador dice más de este plano que lo que nosotros podemos apreciar a simple vista.</div>
Antonio Cuestahttp://www.blogger.com/profile/00890856297468075359noreply@blogger.com0tag:blogger.com,1999:blog-8878261963956207604.post-1213398799926964142012-12-02T08:17:00.000-08:002012-12-02T08:22:38.140-08:00Bestias del Sur Salvaje (2012)<div style="text-align: center;">
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<i><b>Bestias del Sur Salvaje (Beasts of the Southern Wild, 2012)</b></i></div>
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<b>Benh Zeitlin </b></div>
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BRONCE</div>
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Érase una vez Hushpuppy. Hay películas que son como fábulas, pues focalizan su visión del mundo desde los ojos de algún personaje infantil. Es el caso de esta historia, dirigida por Benh Zeitlin, fotografiada por Ben Richardson y protagonizada por Quvenzhané Wallis. Una delicia visual que nos sumerge en el asfixiante universo de esta niña huérfana de madre cuya tierra, cuya vida, se encuentra en peligro.<br />
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Los colores, tristes y lúgubres, contrastan con unas luces naturales y pacíficas, como si estuviésemos en una jungla creada a partir de la imaginación más misteriosa. Nunca perdemos la sensación de inestabilidad. El gran mensaje es que incluso en los lugares más inhabitables hay un refugio para la ilusión y la vida. El director sabe que lo importante son los personajes y no duda en mostrar sus rostros en los momentos más decisivos, cargados de una fuerza emocional impredecible.</div>
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Acaba la película y abandonamos un lugar junto a la protagonista, cuyo viaje vital ha dado un paso adelante. La propia naturaleza se ha encargado de ello. Dejamos una infancia diferente, entre cocodrilos y ciénagas, entre sangre y tormentas, donde la madurez ha llegado de manera inesperada y abrupta, como uno de esos miedos atroces y vitales que se nos presentan para recordarnos lo minúsculos que somos pero lo enormes que podemos llegar a ser.</div>
Antonio Cuestahttp://www.blogger.com/profile/00890856297468075359noreply@blogger.com0tag:blogger.com,1999:blog-8878261963956207604.post-29193672229173993722012-11-07T14:47:00.000-08:002012-11-07T14:50:22.728-08:00Interiores (1978)<br />
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<i><b>Interiores (Interiors, 1978)</b></i></div>
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<b>Woody Allen </b></div>
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BRONCE<br />
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Woody Allen contó con Gordon Willis como director de fotografía para su sobresaliente homenaje a Bergman, la historia de tres hermanas y su reacción al divorcio de sus padres. <i>Interiores</i> sobrecoge por la sabia composición de sus planos, hechos de oscuridad y luz con unos fríos tonos que revelan el vacío existencial de sus protagonistas.<br />
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Allen compone reflexiva y pausadamente, dejando que sean los personajes quienes aparezcan en el plano, deambulando entre las cuatro esquinas de sus casas y de la gran pantalla. El neoyorquino manifiesta aquí un gran uso del suspense emocional por la espera de las acciones, que traerán consecuencias desgarradoras.</div>
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Con la muerte presente en cada plano, <i>Interiores</i> nos deja imágenes para el recuerdo, asfixiantes y vibrantes, que producen auténtica admiración. Las tres hermanas en la ventana, el intento de suicidio de la madre y, especialmente, la nueva esposa saliendo de la casa hacia la playa con un vestido rojo, en el desenlace. Tragedia pura que nos sacude sin escapatoria.</div>
Antonio Cuestahttp://www.blogger.com/profile/00890856297468075359noreply@blogger.com0tag:blogger.com,1999:blog-8878261963956207604.post-89511033631999923172012-10-16T12:10:00.001-07:002012-10-16T12:13:31.960-07:00Elephant (2003)<div style="text-align: center;">
<i><b>Elephant (Elephant, 2003)</b></i></div>
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<b>Gus Van Sant </b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9PEfQGVub2rtQIVmxYQDq3Z5r382hK6Z15ZI9xtrcDLwTw7NMW1hGsDBnSvs3WMKsyE-mdZzzwaCUgnbFZ9YtfLngF7blmJK5UzUb07rl1vniFjr-iB8wnKBl9O2Lc92bE2PUjwPCB2I/s1600/Elephant+4.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9PEfQGVub2rtQIVmxYQDq3Z5r382hK6Z15ZI9xtrcDLwTw7NMW1hGsDBnSvs3WMKsyE-mdZzzwaCUgnbFZ9YtfLngF7blmJK5UzUb07rl1vniFjr-iB8wnKBl9O2Lc92bE2PUjwPCB2I/s400/Elephant+4.JPG" width="400" /></a><br />
BRONCE<br />
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Esta semana nos dejaba Harris Savides, uno de los mejores directores de fotografía del cine actual, y desde aquí rindo homenaje con uno de sus mejores trabajos: <i>Elephant</i>, de Gus Van Sant. Una película que cuenta con una fotografía simple y directa, así como pausada y poética.<br />
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Dicha elección a la hora de contar la historia sirve para hablar del gran tema de la misma: El paso del tiempo. Con esta clave entramos en un cosmos de largos pasillos, en los que la cámara en la nuca de los personajes sirve para no romper la focalización de las historias cruzadas.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRAbJRhc1KYc0Au6IuS6OxNgtlATHLViaFptXKbEg1pxDRBDwUBaB6kzvxeFc6TEVuUlbky-ktgBgtYIWlIZQp2DN6IWw7KD0KF36dFYgBUrb3e7BDOkHLsonZEPoM90bAsfy_-c9HC9I/s1600/Elephant+1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRAbJRhc1KYc0Au6IuS6OxNgtlATHLViaFptXKbEg1pxDRBDwUBaB6kzvxeFc6TEVuUlbky-ktgBgtYIWlIZQp2DN6IWw7KD0KF36dFYgBUrb3e7BDOkHLsonZEPoM90bAsfy_-c9HC9I/s400/Elephant+1.JPG" width="400" /></a></div>
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En esta cotidiana poesía, Van Sant recrea sin aspavientos el horror de una matanza. Sobrecogedores pueden llegar a ser la llegada del arma a la casa de los asesinos y el descanso que uno de ellos se toma en plena cafetería, pero sobresale el plano de la chica marginada que, en medio de su clase de gimnasia, se detiene un instante y contempla su alrededor o, lo que es lo mismo, la vida que pasa ante nosotros.</div>
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Antonio Cuestahttp://www.blogger.com/profile/00890856297468075359noreply@blogger.com0tag:blogger.com,1999:blog-8878261963956207604.post-82369929988579867382012-10-03T14:47:00.002-07:002012-10-16T11:59:05.058-07:00La Cenicienta (1950)<div style="text-align: center;">
<i><b>Cenicienta (Cinderella, 1950)</b></i> </div>
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<b>Clyde Geronimi, Wilfred Jackson, Hamilton Luske </b></div>
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BRONCE<br />
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El clásico de Perrault es visualizado por la factoría Disney con una mirada dulce y en ocasiones muy irónica, ofreciendo unos detalles mágicos tanto en el color como en la luz, fáciles de reconocer y entender para identificar a los personajes, las situaciones o los puntos álgidos del argumento.<br />
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Sensibilidad y exquisitez en unos dibujos simples y bien llevados a cabo, que a veces no tienen necesidad de incluir líneas para separarse del fondo, y se funden simplemente por superposición de espacios. Es en su simplicidad donde reside el gran triunfo de esta animación tan inocente.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2wlVaBSwXaQ_aDNMxa-vlFde-H6hAxQYpuwl27lAb3UnHu4LKaq1Wq6uwh2Ud45fa0hxk6QY2u8AJBdkamtT2xI3V6yfKxP-qkLMsn1w1TxrQXHz3HE_xWThOKe8ncDP5fA9ILn8B7Lw/s1600/CENICIENTA+1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2wlVaBSwXaQ_aDNMxa-vlFde-H6hAxQYpuwl27lAb3UnHu4LKaq1Wq6uwh2Ud45fa0hxk6QY2u8AJBdkamtT2xI3V6yfKxP-qkLMsn1w1TxrQXHz3HE_xWThOKe8ncDP5fA9ILn8B7Lw/s400/CENICIENTA+1.JPG" width="400" /></a></div>
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El mejor plano de <i>Cenicienta</i> es el que sirve de presentación de la madrastra. Los directores nos llevan junto a la protagonista al interior de la cueva donde reside su enemiga, usando al gato Lucifer como nexo de unión entre planos y manteniendo la intriga del personaje gracias al uso de la oscuridad.</div>
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Antonio Cuestahttp://www.blogger.com/profile/00890856297468075359noreply@blogger.com0tag:blogger.com,1999:blog-8878261963956207604.post-6345397582020484152012-10-01T12:54:00.001-07:002012-10-03T14:47:38.906-07:00El Piano (1993)<div style="text-align: center;">
<i><b>El Piano (The Piano, 1993)</b></i> </div>
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<b>Jane Campion</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7s5CwHzauJLOijlszgZkotHkBJdCgdGTCaFkx_fmZ7VxofYAL9aI8QL1iYcmklNlmc0wbKVUm5V36WCcq0S2SymcVTTQyXKq0C3iDCzrF9FlCzkfvQ28_glxL_GdlpCplUxvdM8C5NfM/s1600/THE+PIANO+5.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7s5CwHzauJLOijlszgZkotHkBJdCgdGTCaFkx_fmZ7VxofYAL9aI8QL1iYcmklNlmc0wbKVUm5V36WCcq0S2SymcVTTQyXKq0C3iDCzrF9FlCzkfvQ28_glxL_GdlpCplUxvdM8C5NfM/s400/THE+PIANO+5.JPG" width="400" /></a></div>
BRONCE<br />
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Mi película favorita inaugura este blog. <i>El Piano</i> es un hermoso y atípico cuento de amor y sacrificio, pero sobre todo es una historia sobre el silencio y la necesidad de comunicarse. Campion transmite con sus imágenes un universo de sensaciones, una selva donde los personajes se buscan hasta encontrarse.<br />
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Una fotografía gris, oscura y gótica, que contrasta con esa luz natural que se cuela entre los árboles, y acaba reflejando unos cuerpos desnudos unidos por la música. En definitiva, unos planos cargados de sentimientos difíciles de olvidar, llenos de extrañeza y simbolismo en cualquier mínimo detalle.</div>
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Como difícil de olvidar es mi plano favorito, la llegada de Ada y Flora a la isla, ayudadas por los marineros, en medio de un oleaje descontrolado e inquietante. Aquí el movimiento suave de los humanos contrasta con la indomable naturaleza y capta nuestra atención al instante, permaneciendo en nuestra retina para siempre.</div>
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Antonio Cuestahttp://www.blogger.com/profile/00890856297468075359noreply@blogger.com0