In recent years (male) directors have been using cinema to look back on their past. As Fellini has already done AmarcordCinematographers such as Pedro Almodოვvar, Paolo Sorrentino, Alfonso Cuarონიn or Kenneth Branagh used their films to capture moments in their lives that represented a turning point. There are differences between them in aesthetics and ethical issues. Cuarარn does this out of a sense of bourgeois guilt, out of Sorrentino absolute idealization, Almodოვvar as a means of talking about creation and desire (his two obsessions), and Kenneth Branagh, out of equal distance.
All of them are now joined by Richard Linklater (Childhood, before dawn). He does it by his rules. While the main feature in all the previous examples was gravity, understanding the meaning of what is being said, Linklater does it in terms of play. There is no desire for psychoanalysis and opening up through his new film, Apollo 10 1/2: Cosmic Childhood. Here is just a radical will, to restore the illusion and desire for fun from childhood.
It is inevitable not to consider this film as an autobiographical title. It is true that Linklater did not have so many and many things distinguish him from his young protagonist, Stan, but he was born and raised in Houston on the same dates, so the reconstruction of a specific time and moment is specific. An important part of your own experience. There is no claim to celebrate the founding moment of his career or to analyze how the world changed in the 1960s – though he never loses sight of the significance of the historic moment – and that is to be appreciated. That is why it appeals to the imagination. Apollo 10 1/2 It has an exhaust leak, which makes it more of a science fiction fairy tale than a revisionist drill.
His young protagonist is a boy who suddenly takes on a surreal mission to go to the moon before Armstrong, Aldrin and Collins do it. Reason? NASA has broken down and built a smaller lunar module that only fits a child his age. An original, fun and glorious idea, as well as how the whole city depended on the jobs it created. The excuse of the lunar mission generates the real engine of the film, to restore a specific time and feeling: that he was alive, that he was a child and thinking of nothing but playing dodgeball, eating ice cream and so on. Go to the movies. To do this, Linklater again turns to rotoscopy, his own style of animation that he has already used. Scanner Darkly And which involves making a film and then turning it into an animation by “drawing” its footage.
Once Apollo 10 1/2 Presents his narrative excuse, the director gives Stop And, for a long time Flashback Tells the story of what children’s lives were like in Houston in the 1960s. Reconstruction of cultural moment through music, TV shows, movies (Location 2001 is a space odyssey that ᲝZi Magician) And the stars of the moment. As well as the family and social dynamics that govern society. A decade when technology began to enter lives but was not yet dominant. In Linklater there is a love for his characters, a love of what matters and a lack of pretensions. His only claim seems to be fun and entertaining.
One of the risks of such a film was falling into excessive nostalgia. Sure, there is nostalgia in Linklater’s film, but the point of view chosen (the feeling of childhood) is so crystalline that there is no idealization of the past in his film. In fact, the director is constantly pointing to the historical context and its significance. Constantly mentioned Vietnam, the struggle for social rights, the Cold War, the hypocrisy of American society.
There is, as well, and this is one of his excellent discoveries, reviewing issues such as the class complex. Stan, the protagonist, is ashamed of his father because he is the one who gets the mail at NASA and not the engineer. In fact, the adventures of the moon are almost like a childish rebellion against the origins of his parents’ working class, who eventually push him to bed after seeing a real moon mission. The film gently describes a working class family that does not understand the changing world and that tries to do what they were told to be a perfect family. All this without cleverness, without pompous phrases and without seriousness because Apollo 10 1/2 You go play and enjoy, and Linklater is so successful that in an hour and a half you feel like a child again. It is unfortunate that Netflix, its production company, has buried its premiere and released it with almost no promotion under its dozens of other new products. The film and the linker deserve more attention.
Source: El Diario
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