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Reviews
Poor Things (2023)
Irrelevant and boring
The plot of Poor Things is extremely poor and childish, but that's not its worst problem. What makes the movie insurmountably bad is the constant repetition and the director's inability to efficiently communicate his nonsense: everything is too long. Everything is repeated, repeated and repeated... And to make things worse, the proposal is not even original: it seems like a hybrid between the excellent Edward Scissorhands (Burton, 1990) and the awful The curious case of Benjamin Button (Fincher, 2008) conceived with a worrying and unjustified complacency.
Lately, anything that does not meet minimum commercial standards has been classified as a "work of art." If a plot doesn't close, it's art; if the story seems conceived by a 5-year-old boy, it's art; if the acting is bad, it's art; and if the production design is absurd, it's art. "Art," according to these criteria, is anything that distances the public from thinking or exercising a relevant aesthetic. In those terms, this film is art.
With Frankenstein, Mary Shelley showed, in the 19th century, that a woman could reflect deeply on the meaning of life, creation, and social order. Almost 200 years later, the same story is used to babble some nonsense about sex; it is clearly a setback.
Cinema is a powerful tool. When irrelevant garbage like this is released and promoted, it does not mean that the tool is broken, but rather that it is being used for dubious purposes.
El Banquete - Deseos Impunes (2024)
An uncomfortable and pleasant surprise
El Banquete is not a regular movie to watch at the Gaumont. At first it seems as if you are watching a thriller, a bit of customs mixed with the most recent corruption scandals and some intrigue and comedy.
But then, suddenly, the game changes.
Tarantino distinguishes between films developing from a situation that arises in the first 20 minutes
and those telling a story that unfolds. El Banquete is among this last group. If we take the first
frame and the last, there is almost nothing in common between the two, starting with genre.
It seems that the director, in addition to entertaining us for an hour and a half (something that
is always welcome), wants to leave a message (something not so welcome): reality, in El
Banquete, rottens until it becomes absurd: the absurd we read every day in the newspapers.
In short: El Banquete is a rare film by the local production standards: it tells an
unexpected and original story, and it does so with grace, skill and good cinematography. The
performances must be highlighted, especially Goity's and Emiliano Carrazone's, not forgetting
the surprising debut of Agustina Fernández Cambra. In the debt we must note the author's
already observed desire to leave us a lesson and certain inconsistencies in the register. We must make a point in the narrative of the director, who is playing with the audience's surprise in the final outcome.
In a word: recommended.