Outstanding prison intrigue in ‘Model 77’

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The first premiere this weekend will be directed by the director with the greatest narrative impulse in our country, Alberto Rodríguez

If you’re reading me, it’s that the nuclear war hasn’t broken out yet and that’s why we’ll be able to see the final seasons of ‘The Crown’, although they made us the biggest ‘spoiler’ in television history.

Directed by the director with the strongest narrative impulse in our country, Alberto Rodríguez, this weekend’s first premiere takes us to the happy and maligned Holy Transition and the prison riots sparked by prison conditions (they improved when the urban councilors began to come in). Miguel Herrán plays a young white-collar criminal who shares a cell with veteran Javier Gutiérrez. His character will become the leader of the uprising against some guards with Putin manners.

It’s easier to define this movie by what it isn’t. Miguel Herrán is not Al Pacino who plays the idealistic lawyer in ‘Justice for All’ (1979), nor is Javier Gutiérrez the veteran inmate played by Dustin Hoffman in ‘Papillon’ (1973), nor is the prison story the sordid of ‘ El Midnight Express’ (1982), nor his approach to the absurdity of ‘Todos a lacarcel’ (1993) or the tension of ‘Cell 211’ (2009). With all these references, it is more creditable that we have been able to offer ourselves an original product, even in accordance with the rules of the genre and a little bit of all the previous ones, mixing the thriller very well with the social history of our country. The best of recent months.

The first of today’s morality stories is “Don’t worry, honey.” More relevant to what it has brought to the glamor of the red carpet in Venice, and to the gossip pages of tabloid magazines, than to what it brings to the cinema. A film with more will than success and with too much self-awareness. The director subordinates everything to (in vain) hide the obvious metaphor they want to impose on us.

Directed by Olivia Wilde and played by Harry Stiles (who has many more years to suffer for the damage he caused when he was a member of “One Direction”). Actually, the main character is the actress Florence Pugh, who plays her wife in a perfect marriage in the middle of a perfect suburban community of the perfect American 1950s, very Douglas Sirk. Closed micro-universe that gradually resembles the friendly neighborly community in ‘The Devil’s Seed’ (1968). If she tries to run away, she will find that it is more disturbing and dangerous than looking at the history of your teenage son’s cell phone.

David Cronenberg (who still has both the “before” and “after” looks of a funeral ad) is one of those directors who doesn’t leave anyone indifferent, either you hate him or you love him. I’m one of the first. So when they give it an award at the San Sebastian Festival, it’s as incomprehensible to me as the success of ‘The Island of Temptations’. Although it has served to present his latest work, or autopsy, entitled ‘Crimes of the future’. I feel sorry for the unsuspecting viewers.

Here the gelatin of the bodies is the raw material with which he works, making a so-called ethical fable, or a future perspective, sunk in the infinite air of boredom. It’s paradoxical that a director who hasn’t changed anything since his first works talks so much about evolution (and I don’t say that as a compliment). Amazing film to perfectly replace the reality show that of the operations.

The Silent Scream: The Roe Vs Wade Case is a historical drama about the famous Supreme Court trial that led to the legalization of abortion in the United States in the 1970s. In reality, it is an anti-abortion advertisement, shaped more by the urgency of the propaganda than by the cinematographic talent it contains. As I always say in these cases, and whatever ideas are used, the excess of ideology prevents its precepts from getting any closer to the unconvinced. More subtlety (and more art) always makes a better effect. Think Mary Poppins, with a little sugar…

Off camera was the recent San Sebastian Festival premiere of the documentary ‘El Critico’, about that titan of cinema talk that is Carlos Boyero. An iconoclast without complexes, who does not get carried away by the fashion of gafapasta and who is insultingly sincere. One of the men I’ve had the best time reading with. A teacher with whom it is impossible to always agree, and from whom unfortunately it turns out that I have learned nothing.

Have a movie week.

Source: La Verdad

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