Death Proof (Playarte)
This is the most erotic film of Tarantino’s career. His camera glides under the legs and feet with a female pleasure without equal. And you have to have that experience alone in the darkened room obscene, to avoid embarrassment!
That’s right, because “Death Proof” seems like it was done by one of those B movie director and sordid. Sick of love for women and sick with love for cars. Look: Tarantino opens his novel with the roar of a V-8 and a girl’s feet on the dashboard of a mustang. In parallel, we see a gorgeous polish panty parading around the apartment. A third comes out of the car and running, close to pee. It is the second women’s world Tarantino. A world in which they are exercising the freedom to stay comfortable. It’s paradise. And of course, not everyone thinks so. While the trio of girls go to a rave and argue about who has the most striking back – the mulatto or Latino Julia Arlene – a car accident following the trail of the young ladies in the evening.
The car’s owner (Russell Crowe) is an old Hollywood stuntman named Mike. It sports a scar that crosses his face from chin to forehead and says cynically that made the time to shave. And since no one in Hollywood gets employment for the distinguished, guess who he uses to test a few bumps?
The only way to achieve an orgasm Stuntman Mike is playing the car against women. And Tarantino presents it in a way terrifying. The scenes of shock amputations show in detail how those sadistic horror films.
At this point I think we all do understand that Tarantino is a director of the third. Since the first movie, “Reservoir Dogs” reveals a desire to revisit the pleasures that movies gave him, but turning against scholarship cinephile. For sure, he loves the great movie, people like John Ford, Hitchcock, Kurosawa, Kubrick or Hawks, but these, everybody emulated in the 70 and 80. And the movie that we had double sessions follow on with a bunch of underground bands. Tarantino devoured that sandwich the good with the bad. And the question he always tests in such films as “Death Proof” are the limits of what is really art and obscenity.
Perhaps “Death Proof” is the most daring film of his Business Articles career, because he invests with lust on the eroticism of violence, of the vices that made him famous, as the dialogues full of references to pop culture, with the intention clear of the poison of the gorge. Can you imagine a dash of romance in that?
The villain of the film can. He stresses: “I am an artist from a time when the car crashes were real, not made by computer.” Yes, and he lived the glory of being a stuntman Lee Majors! But Stuntman tells that to the girls, and they do not have the slightest idea what the old dinosaur is talking. Were not even born then. The film is an aesthetic manifesto and certainly reactionary, for a cinema craft, handmade. That is where Tarantino goes beyond the mere idea of recycling. The film marks of wear (scratches, jumps, etc.) created artificially, as “Death Proof” was seen in old copies do not appear on the screen as a gimmick: in truth, neither can be seen as an end but as a “imprint” of what is the big “remorse” cinema of the digital age. What remains of human beings in the midst of all this dilution? A parade of beautiful female feet.
The Secret in Their Eyes (Europe)
Was the winner of the Oscar for Best Foreign Language Film this year, and many people will end up watching for it, even if Oscar is far from being synonymous with quality. Let us consider this an exception. This “Secret” has that same emotional and poetic tone of “The Son of the Bride” from the director. Here the central character, a former prosecutor of justice (Ricardo Darin) writes a memoir as an excuse to talk to a criminal case that did not solve, and in fact, show his former boss (Soledad Villamil), such as during hid his lifelong love for her. Men and women in this film by Juan Pablo Campanella hide its truths, its secrets, but it is fascinating, especially the first half, as the camera reveals the game looks and emotions with an accent always ironic.
Then in the second part, Campanella seems to accommodate the narrative in a more conventional plot police. Yet the film concludes with an interesting thesis: it tries to justify the repressed personality of his characters saying the Argentine dictatorship was also able to mute the love.
The White Ribbon (Imovision)
This is the most elegant and sophisticated film ever directed by Michael Haneke (The Piano Teacher, Cache), with violence always about to explode, and that remains veiled in black and white photography. The grading, however, grows like a pressure cooker. Very exciting how Haneke begins the film. Remember those classic 40 years on the innocence and purity of living in a village in the countryside, as the action progresses and the story becomes darker than the wings of Graúna. The doctor of the village falls from the horse after tripping over a wire and the townspeople speculate who could have set such a prank. Later, other people will be victims of pranks like this will generate and discord, discussion, a real ferveção between parents and children, teachers and students, men and women, bosses and employees. Neither the Church escapes the sense of watching Haneke. The pastor who has no control over the faithful in the parish tries to educate children with an iron hand, tying a white ribbon in her arms, every time they make a slip.
The white man uses his heirs to remember the existence of innocence and purity, the truth becomes a symbol of all the oppressions exercised. It is under this same contrast between black and white photo, which incidentally, is introducing a deep unscramble the picture of order and Manichaeism, as faces are between dark and light: Does anyone still believe that good is the light and shadow is evil? Here’s the confusion. The community is Austrian, highly civilized, but anyone who ends up becoming the target of variance with an accident. Over time, the teacher suspects that their students may be involved in this conspiracy that seems to target the natural selection of species, especially after a kid with Down Syndrome, turns the victim of an attack.
The theorem is closed under the light of historical context. Austria entered the First World War with Germany soon after, but the aspirations of those young people only become even force the creation of the Third Reich. Therefore, Haneke does not want to bull in order to understand his film, but the situation clearly reflects his fear of the Fascist increasingly strong in civilized countries like yours Austria.
His film is a portrait hard, especially for a company of some years ago, vote en masse in the extreme right. The behavior of the characters, the mix of art, who play dictatorial power, would not happen anywhere. Do remember to claim the English literary critic, German-born Jew, George Steiner, that the Nazi leaders read Goethe and listened to Beethoven evening, morning and worked quietly in a factory to kill people.
The feeling in “The White Ribbon” is pure provocation. Normally we do not want to be confronted with unpleasant scenes as this movie shows. But more disturbing is precisely the serenity with which the characters go to Mass at the end and sing as if nothing had happened.
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