Woody Allen.
By Reynaldo Ballast
On other occasions we have recognized the refreshing change that has taken place in space Night on Saturday (The movie Saturday), that before diversify the film proposals on Cuban television, playing a vital role, releasing and refilling excellent films which, though highly sophisticated nor be signed by renowned directors were at odds with entertainment in its conventional sense. But then he experienced a period of horror vacui , where he was hanged on label of “package” to almost everything hosted by willingly or unwillingly. Having more violence and adult language that space was a joke street resignificaba marginal cumbersome certain events or situations in public spaces. Barely a year ago, possibly thanks to the proposals on the subject at the recent congress of the AHS and the UNEAC, the situation has been changing.
It is from this platform of change that can understood and welcomed with joy the proposal on Saturday have this space, An irrational man (The irrational man, 2015), veteran Woody Allen. All who love the cinema, even a little, have a large account in New York director. Although persists in brand once a year, knowing that recently has just celebrated its 80, we all apply ourselves to their new jobs because we know that, to a greater or lesser extent, we see a good movie. And this time Joaquin Phoenix a cult become, in the long list of “elect” who have worked with the master actor adds.
As expected, Allen returns to one of his favorite topics, and that over the years has favored over others as death, God or sex: love. Love is irrational component that borders this story, but in an unusual way, as is always expected in Allen because Lucas (Phoenix), a philosophy professor with existential problems, strives to streamline the execution of a transgression seemingly irrational, murder without moving sight. Far from its earlier proposals, Allen returns to the world of murder, who had treated very effectively in Match Point (2005), but already used only on a casual basis. The chance to see this film when it has not even been released in commercial theaters in the country, is a luxury and a chance to provide the recovered space nocturne Saturday.
It is curious that the Jacques Audiard’s name is repeated in this week beginning, recognized as two TV spaces replenished his works. The French director, recently awarded the Golden Palm at Cannes for Dheepan (2015), is characterized by incorporating their work an interesting use of violence and stops to build sophisticated and compelling characters. Critically Spectator (8:30, Saturday’s Educational Channel) presents A Self-Made Hero (Un heros très discret, 1996), another of his forays into the historic fabric of their country, this time I turned in World War II and an unusual chapter, little studied, where the manager searches the possible friendly relations between the French army and the Hitler regime. Accustomed to premiere in Cannes, the film was no exception, although the criticism of that country, unlike foreign accredited there, there gave him a good reception. Surely uncover the black box when it was easier to go through that victim ally, if only as a temporary slip, did not sit well at all. The film was based on the novel by Jean-François Deniau.
The Greatest Hits especio replacement of the Seventh door, Multivision appears every Sunday around 9:30 pm, exhibit Rust and Bone (De rouille et d’os, 2012), this director. It is possibly one of his lesser films, but contains an affair of high carat. This is the story of Ali, who faces his first major conflict to having to take care of his son Sam, 5 years, he barely knows. But the fact that marks the true subject of the film is not that, but the arrival in his life of a beautiful girl, also played by Marion Cotillard, with whom he begins to live an intense sexual history. But this does not result strange, until one of the first shots of the film, where the couple listed on the bed, we see Stéphanie (Cotillard), with amputated legs, done that then relate them to your profession tamer orcas . The documentation of the experience of this relationship, strong, beautiful and too carnal, sexual hunger under its male protagonist, is the great merit of this film, which is possibly the most intimate of those made by its director.
It is fair also recommend other space that has managed to impose from the singularity of their proposals. This is Flash Film, which has its schedule Thursday at 7:00 pm at the Educational Channel 2. There a series of short (genre rarely seen, but where even the great directors have been tested) are scheduled , chosen with extreme delicacy. This week the topic of repetition is discussed in animation techniques, working with experimental filmmaker Virgil Widrich, Filme fast , where the images are the same matter in question, and Repeat , Michelle Pavlatova where repetition is rebuilt customs and habits in people from certain characters.
Another program that is still making a difference documentary screen. This week launches a major material of English filmmaker Ken Loach, The spirit of ’45 (The Spirit of ’45, 2013), recreates the strange state of being of postwar England. Interested in the political issues of his country, Loach documents to the Churchill era and openness that provided the newly elected, Clement Attlee, especially in medical services, to gain majorities that lasted until Margaret Thatcher came on the scene. Interesting documentary, it built primarily based on interviews with survivors of that historical period, where one of the most interesting network of citizen protection was built.
We close this text, hoping that these lines contribute to individual movies no longer be due to lack of promotion, especially those that do not end with the word order, but continue turning the heads of the spectators, generating questions and promoting discussions.
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