Lecturas Invierno

Tan monstruosa y tan inocente es en efecto la película como para, no solo constituir un hito técnico; también, para enfrentar al horror de lo vivido en primera persona por el protagonista del film una vía de escape en forma de autoengaño, que acaba por otorgar a la película una cualidad narrativa, con trascendencia dramática y moral añadida.

Son of Saul- Miradas de Cine


While popular feminist criticism is not in the business of providing in-depth readings of individual texts, criticism of patriarchal cinema and media culture is now widely generated by journalists and other cultural commentators who use feminist critical tools to question the circulation of sexist images and gendered value systems.

Feminism Film Criticism-Digital Collection


I also saw a direct line from the overproductive mental states of all the criminals in Highsmith’s other novels to the romantic imagination, in its constant state of hyperproduction, conjuring scenarios and outcomes, getting overwhelmed by all the signs it’s trying to read, trying to determine whether the person you love feels any need to be close to you. That craziness, that loneliness, that paranoia, but also the pleasure of reading everything—to the point of total distraction from everything else—I found to be such a great premise.

Carol-Film Comment


Recuerdo, allá por el 2007, que leí uno de los pocos artículos críticos sobre cine que se me quedaron grabados en la memoria, el célebre ‘Bergmanorama’ de Jean-Luc Godard, publicado en el número de julio de 1958 en Cahiers du cinéma. Especialmente recuerdo que Godard situaba a Bergman entre los grandes cineastas porque, en Juegos de verano (Sommarlek, Ingmar Bergman, 1951), había conseguido dilatar a lo largo de 90 minutos lo que era un instante fugaz, mínimo (no sé por qué estaba convencido que Godard partía en el artículo de Un verano con Mónica (Sommaren med Monika, Ingmar Bergman, 1953). Me fascinó aquella descripción del gran cine como aquel capaz de transformar la realidad, de observarla de otra forma, de, son palabras mayores, trabajar el tiempo, lo que en última instancia podía llegar a ser la detención de la muerte, almenos en su acepción de olvido.



In an audacious move, the entire first section of the film, running to nearly an hour, is constructed as a pre-title prologue. This signals that Mountains May Depart is about the present. Fifteen years pass, in which time Tao has had a child with Jinsheng, though she and her husband have since divorced.

Mountains May Depart- Reverse Shot


One clear point of comparison is DW Griffith’s The Birth of a Nation (1915), the civil war and reconstruction-era epic that continues to be lauded for its technological and narrative advancements, but is forever circumscribed by its racist, one-dimensional portraits of black people as layabouts and lecherous savages.

http://www.theguardian.com/african american cinema


To accuse Williams of plagiarism, however, brings to mind the famous retort made by Brahms when it was pointed out that the big tune in the finale of his First Symphony resembled Beethoven’s Ode to Joy: “Any ass can hear that.” Williams takes material from Korngold and uses it to forge something new. After the initial rising statement, the melodies go in quite different directions: Korngold’s winds downward to the tonic note, while Williams’s insists on the triplet rhythm and leaps up a minor seventh.



And because I recognize black southern country fence-jumping feminism as a birthright and imperative, I have no tolerance for the uncoordinated–those who cannot dance and move for black queer liberation, black trans liberation, black women’s liberation, at all intersections.


Having grown up black-Black (read: dark-skinned) in colorstruck New Awlins, hearing someone, particularly a woman, make a distinction between Creole and “Negro” is deeply triggering.



Such embellished performances fit comfortably into a tradition of theatricality that only went out of fashion recently. Seen through the prism of the realism fetish that now dominates both filmmaking and discussion of it, the quirks of regional accents and unhinged lead performances seem dissonant—but the elemental and controlled nature of the acting often brings out new dimensions in the actors.


Exploitation of all stripes—economic, cultural, spiritual, physical—recurs throughout Embrace of the Serpent, from the repeated mentions of rubber barons who rape the land and torture the workers to frightening missions run by sadistic, maniacal leaders.