Leopard Print Bedrooms

DA 10: Journal of accredited novice who learned to the cat. Day 10

To quote the song Serrat : "Come down the hill, up on my street that the party is over" . Yes, the International Film Festival Author D'just bring down the curtain at about quarter past twelve on Sunday, which otherwise has been a bit gray. After ten days of hard to see good cinema away from commercial channels played back into the routine and daily work with the dregs of bitterness and the gap that runs down your body when you're used to something and you know I am not going to have. At the end of the film that has been the Audience Award was Meek's Cutoff of Kelly Reichardt , an atypical western treaty from a female perspective, and has been welcomed by all the spectators who flocked to his only projection during the Festival. Now is the time of the conclusions, the time to take stock before turning the page, but first, if you allow me, I will introduce a short review of two recent films that today I had the opportunity to see.

In the first session I left Section Asias with China Toguether Apart from Quan'an Wang, the director who got Brand New in Spain a few years ago one of his films, The Wedding Tuya, a real achievement if we look at the times and the type of films that are simple and intimate letters of introduction to the works of Wang . This film was commissioned to open the Berlinale 2010, where he won the Silver Bear for best screenplay. Apart Toguether tells us, between family meals and long conversations of living history of an exile who had to leave for the island of Taiwan when proclaimed the People's Republic China in 1949. Fifty years later the man returns to the mainland China to be reunited with the woman who was the first love of his life and who had to leave. She formed a new family, despite everything, he wants to retrieve it and bring it to live in Taiwan. After that the director feels all his characters to the table and focus in a subtle way to go digging into their deepest feelings and repressed passions. As in Wedding Tuya the plot is structured in a trio, two men and a woman facing an anomalous situation, in this case the ghosts of a past that is present too later. The passage of time can not destroy neither the desire nor the true love, and it leaves the viewer realizing slowly, silently, knowing glances that replace the hackneyed words. But the harsh reality eventually becoming apparent in some children who do not understand the attitude of his mother and a husband who needs to care given his advanced age and propensity to tipple (at times, and someone whispered in public low voice, reminiscent of The Bridges of Madison ). The grandmother has to be discussed between the man she loves and her family, and the balance will end up falling off the side of the second, though, in a masterful epilogue, be doomed to a gradual abandonment of it, and is already known, the grandparents just annoying (and if not, you just have to be Tokyo Story Ozu of to prove it). This renovated with some touches of humor (the scene where they have to marry again immediately after it is hilarious to divoricarse) and a melancholic sediment increases with nostalgic songs and tears of farewell. Wang film shows that their whole is refined and winning as part of trying to understand life watching the people simple and easy allowing obliquely criticize a repressive system that cut short the lives of thousands of compatriots.

And finally Cold Weather US of Aaron Katz , a separate invoice film that moves somewhere between drama and mystery thriller, and a forensic science student returns to his Portland home with his sister after leaving University of Chicago. They find work at an ice factory and be reunited with his ex-girlfriend, who suddenly disappears. Together with a friend, with whom she shares a passion for the world of Sherlock Holmes, will start the investigation that will lead to unraveling the enigma. Aaron Katz uses a bundle of false suspense to influence interpersonal relations among characters. Although the plot and dialogue are witty shows a slow pace staggering. It takes more than half an hour to start the argument, and when this happens, there are many scenes where we see the protagonist wandering or driving without any regard for the development of the action. This is a clear symptom of authorial will, and it is as if we were to a rival of Gus van Sant more contempaltivo. The final section, however, has the verve that is lacking in the rest of the movie, so you just do not get bored at all, staying in a sterile exercise of extravagant staging. I do not know if it was for the time and the number of movies accumulated over de estos días, pero se hubiera agradecido un colofón un tanto más enérgico y menos insustancial.

Desde luego es bueno que en un festival de esta índole existan propuestas tan arriesgadas y diferentes que definan una serie de nuevos itinerarios alejados de los más tradicionalistas,   y en eso el D’A se va a convertir en muy poco tiempo en un evento de referencia para todos los náufragos que deseamos asirnos a este tipo de propuestas alternativas. Por aquí hemos visto desde historias donde la disfunción familiar cobra vital importancia, bien sea impuesta por agentes exteriores, such as political repression, or because the family is no longer the natural and fundamental group unit of society and must seek new bond. We also enjoyed unusual landscapes, traveling from the desert steppe to the caves of southern France via the Thailand more ruinous, more icy Arctic Ocean and the Spain deeper. A journey sprinkled with political and social reality that tells us it difficult in some countries to escape poverty and achieve the rate of wealthier European countries based on corruption and rogue traders. And to top it off we have also given a tour by the most diverse, from the western most feminine, through the more indie thriller and the more tragicomic melodrama, leaving behind the terror more visceral and more gratuitous violence. A repertoire of good movies have taught us that we must not be disheartened by the apathy film that grips us every day and give in to the power of the dollar. There will always be an alternative cinema to point directly to the feelings and now have an annual opportunity to grab this straw or raft of oil in this wonderful festival which has just closed its doors.

Congratulations to the organization and until next year!

Bona nit!

Francisco Nieto

Cineasia