Social cinema ‘In the margins’

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With the first autumn leaves arrives the first releases of October, who want to compete with the Turkish soap that is our CGPJ

Juan Diego Botto is a solvent actor but without major roles (we don’t know if this is due to his inability to choose well or due to acting limitations). Like any self-respecting actor, he has always wanted to be the boss of the movies, which is why he launched his first movie, which he titled ‘En los margines’. When you see it, you have to decide whether it’s a Ken Loach-esque social protest film or a pamphlet with the editorial line of “Al Rojo Vivo.”

Penélope Cruz and Luis Tosar are the hard-working protagonists in this choral work, with three parallel stories, which try to analyze the economic reality of our country precisely from the side of those who stand on its margins, those who only care about the statistics of Caritas. The losers of all time. ‘In the margins’ resorts to false verism, making the fiction seem like a documentary and the documentary part a promotional fiction of the 15-M. In this first attempt at filmmaking, Botto doesn’t show everything he knows about cinema, preferring to put his undeniable political commitment over his dedication to cinema. The road to hell is paved with good intentions, and the common places he eventually takes refuge to favor the outcome, but not the whole, burdened by overly stereotypical characters. The result makes him closer to the princess of Asturias for communication and humanities than to the Goya.

Nobody sees Buñuel anymore except in movie libraries, so if my first mental reference when I see ‘Fall’ isn’t the adrenaline-pumping ‘127 hours’ (2010), but ‘Simón del Desierto (1965), it’s because I’m a very old fool. In ‘Fall’ there are also people who climb on a pillar in the middle of nowhere for pure fun, only here it is two sweaty girls (this goes for you Forocoches users too), fighting for their lives on top of an antenna 600 meters high and not exactly against temptation. An adventure with a lot of excitement that is totally forbidden for people with a fear of heights.

The advice no one has given their director is that when your entire movie takes place in the small space of an aerial top, with two characters, you better plan well if you want to keep it interesting. The result is comparable to one of those smashing matches: a competition to see what kind of new calamity can befall them.

Now we enter the comfort zone of good rollista comedies, which are akin to taking a valerian, as we leave stunned with such luck. The first is the French ‘Dance with life’. Version of an English film (which already looked like an advertisement for what do clouds smell like?), which tells how a middle-aged woman, after a traumatic divorce, goes to live with her hated sister. But she will be saved from all this by dancing. Those of us who have (have) two left feet hope that these movies are wrong and that the solution to all problems is not in the dance, they would be done.

The main character of ‘El Vasco’ goes from the Pyrenees to the Andes. Tired of Euskadi and the Euskaldun, the boy flees to Patagonia to find that he has settled in a kind of little Bilbao. The ethnic humor and the laughter provoked by the typical clichés fit well with the unchanging transplantation of Basque traditions in the land of the ‘kid’ and the brilliant Mafalda. It’s a good sign that you don’t miss Karra Elejalde and thank you for the wonderful and fun Eduardo Blanco. A more comfortable movie than an armchair with a footrest (and a glass of txacoli).

They awarded the Nobel Prize in Literature to the French Annie Ernaux (another award highlighting our cultural gaps). On occasion, at the Cannes festival, she presented a self-recorded documentary featuring family films from her childhood and youth. It can be seen in Filmin in January. Have a week, and an October, cinema.

Source: La Verdad

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