Lover and Carancho

Lover of Fernando León de Aranoa.

Carancho of Pablo Trapero

Two movies coincide with the publicity board during the bridge of the holiday of the Hispanic world. The time has not accompanied, he was not inviting to go for a walk, rather everything opposite. Therefore to shelter in the movies room was a good plan.

 

At the time of choosing a movie one of the things on which we concentrate is in the actors and in its director. The director is like the mark, the stamp, the denomination of origin. Lover of Fernando León de Aranoa is the movie that released last weekend. From its prime opera Family (1996) the tapes of this person from Madrid promise, tell us nearby histories and they are in contact with the reality.

Magaly Solier as Marcela

Lover was presenting good face, had the essential elements so that the result out of my taste. Marcela (Magaly Solier) a young immigrant malvive along with its fiancé as seller of flowers. The economic needs force him to take care of a sick elder weakened in the bed, Lover (Celso Bugallo). The relation is established between both protagonists, until an event gives a draft in the plot.

Slightly believable, slightly convincing and not emotional at all. I do not like and I am not going to do it. I do not like setting to give birth to the movies that I have seen. I believe that a respect deserves any work and I belong to those who think that any movie for unclassifiable that should be, has something good, something that is worth being seen. In case of Lover to there me remained many minutes in which the history was not advancing, it was not providing any new information to us. The movie is as if it was constructed departing from a good pair of anecdotes with two good interpreters: Solier (The scared nipple) and Bugallo (another Lover in Every Monday to the sun). And that is not sufficient to create a good work.

Life, death, love, lack of affection, subsidiary relations, maternity prostitution and, of course, the malvivir in the marginal quarters of the immigrants. Many are the topics that Fernando León touches us without managing to upset, to feel empathy for such and such personage or situation. Forced dialogues and elongated silences do not contribute that we get into situation.

Marcela and Lover

A comment of Camilo Useche sums accurately the movie up.

“In its attempt of creating a fable on the construction (like a puzzle) of the life, across the history of an immigrant, it falls down in topics and superfluous dialogues and does not develop anything more, that a simple seriocomic anecdote.“

 

The director in full shooting

It is a pity, but in this occasion I have gone out of the movies with the sensation of which so-so or what is the same not chus not even card game. Clear that were thinking that I should not to set to give birth to a movie … Lover can meet, of course. In the movie we will see as the protagonists face certain situations hurried up by the money. Somewhat surrealistic situations but that in some moment have been real, situations that try to show that everything is still equal although it is not like that, because the human condition is the one that is and, sometimes, the reality overcomes the fiction. The protagonist, from its innocence, raises the moral quandary if what it does is the correct thing in its struggle for the survival and for obtaining the fondness and the emotional stability in a life that it has not just seen in its sleep. The same doubts as the daughter it appears with the attitude that it has for with its father. And these doubts, perhaps, transciendan from the screen to the room. So it is no wonder that sometimes we use perfume so that the life, our own life, smells to roses.

————-

Another movie is the Argentinian Carancho.

To choose the name of a movie or of a book is not a trivial thing. Here I meet the difficulty of the language and, especially, with the use that they could they do in South America of the word carancho. I come to Google and one of the first earnings fits, perfectly, in defining the personage of the movie.

Carancho: Sedentary, natural bird of South America, it moves in accordance with the feeding plenty. Its feeding is based principally of carrion. It frequents the dumps and the shores of the highways in search of garbage.

Luján and Soda

I imagine that this will have been the intention of its director Pablo Trapero, with a noun to define the whole personage on whom its new tape is based.

The movie starts with a few information:

In Argentina more than eight thousand persons die every year in traffic accidents. There are more than hundred twenty thousand annual injured men. Only in last decade there were hundred thousand deaths. The millions in weight that every victim represents as for medical and legal expenses generate an enormous market supported by the insurance companies and the weakness of the law. With every tragedy, the industry is started.

And from here on, its director constructs an excellent movie that will compete for be doing by the Óscar to the best foreign movie in the next awards of the Academy in Hollywood.

Conciliation act

A lawyer, Sosa (Ricardo Darín) specializing in traffic accidents is on the point of recovering its license to be able to practise alone. It moves like a bird between the carrion that in this case finds it between the rooms of urgencies of the hospitals as well as the funeral parlors of the suburbs of Buenos Aires. Common places to find its clients. Soda wants to leave its work, a species of juridical study that, supposedly, helps the victims of the traffic accidents. But the reality is different and what hides behind the front is an underworld of underworld where it is dealt with the feelings, the need of the people for a few complaisant doctors survive, the excessive ambition of a few corrupt police officers, a few lawyers without conscience, with the crime, and a few judges and insurance companies that do the fat sight.

In this sordid world and when Soda is on the point of leaving it everything there appears a young and attractive doctor, Luján (Martina Gusman). Alone, provinces newly arrived person, pluriempleada survives stressed doing shifts between ambulances and guards of urgencies in a foreign city.

The love story arises between both protagonists in the same stage that will turn in frequent in the course of time: the street and the catastrophe of cars as witness. Together they try to change the situation. An unjust situation that turns into a maelstrom catching the lovers.

The movie is violent. It begins with a drubbing and finishes little less than with other one. With hard scenes, full of blood. The ambience where it develops is blackish, sordid. The rooms of the hospitals are sticky, ragged and dirty more own of see spending a rat that a white robe. The personages of Darín and Gusman are believable, austere, but effective. Expensive she of gullible, ingenuous and fragile (eye, he hides its dark side), he scorched gesture, but with face of good person. It gets into the foul-ups not for its own benefit but to help other persons.

The one who is going to see Carancho will meet a movie that narrates a social drama and a sentimental tragedy prepared of splendid form with a big dose of criminal intrigue, where the corruption is present with its economic fiddles (to a certain extent asumibles for all those that are in the ointment), but where also the much more worrying moral corruption is present. One does not hesitate to give a drubbing to one so that it does not put the nostril in matters that not at all matter for him or have to import anything for him. And neither it is doubted, from another side, of breaking to one the leg and then simulating a traffic accident to be throwing in this bitch life that has had them to live and extract the pesos to the insurers.

The final scene is of big merit. It achieves that the presents in the room we shout avenges, we go it runs flees, veto of this infernal world. And as when we were waiting for the seventh one of knighthood in the movies of John Ford we hope that Soda and Luján should receive the help that allows them to see the light of the sun. We want that Carancho is the Phoenix bird and that re-arise from its ashes and leave the dunghill taking between its claws only its beautiful trip partner.

Carancho is an unbreathable and hard thriller that narrates an energetic love story full of tears and of blood that does not make anybody indifferent.

 

Both movies coincide these days with the publicity board. And in them I want to see a small union connection in addition to its short title: a noun (Lover also can be the man who loves). Two movies have to do with the development of the human misery in its different grades and especially with the survival without hopes in which its protagonists are plunged. Terrible life, but also terrible is to live through it without the hope that that could change in some moment.

Square Luisjo


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Lover and Carancho | Magazine Atticus

Lover and Carancho

Lover of Fernando León de Aranoa.

Carancho of Pablo Trapero

Two movies coincide with the publicity board during the bridge of the holiday of the Hispanic world. The time has not accompanied, he was not inviting to go for a walk, rather everything opposite. Therefore to shelter in the movies room was a good plan.

 

At the time of choosing a movie one of the things on which we concentrate is in the actors and in its director. The director is like the mark, the stamp, the denomination of origin. Lover of Fernando León de Aranoa is the movie that released last weekend. From its prime opera Family (1996) the tapes of this person from Madrid promise, tell us nearby histories and they are in contact with the reality.

Magaly Solier as Marcela

Lover was presenting good face, had the essential elements so that the result out of my taste. Marcela (Magaly Solier) a young immigrant malvive along with its fiancé as seller of flowers. The economic needs force him to take care of a sick elder weakened in the bed, Lover (Celso Bugallo). The relation is established between both protagonists, until an event gives a draft in the plot.

Slightly believable, slightly convincing and not emotional at all. I do not like and I am not going to do it. I do not like setting to give birth to the movies that I have seen. I believe that a respect deserves any work and I belong to those who think that any movie for unclassifiable that should be, has something good, something that is worth being seen. In case of Lover to there me remained many minutes in which the history was not advancing, it was not providing any new information to us. The movie is as if it was constructed departing from a good pair of anecdotes with two good interpreters: Solier (The scared nipple) and Bugallo (another Lover in Every Monday to the sun). And that is not sufficient to create a good work.

Life, death, love, lack of affection, subsidiary relations, maternity prostitution and, of course, the malvivir in the marginal quarters of the immigrants. Many are the topics that Fernando León touches us without managing to upset, to feel empathy for such and such personage or situation. Forced dialogues and elongated silences do not contribute that we get into situation.

Marcela and Lover

A comment of Camilo Useche sums accurately the movie up.

“In its attempt of creating a fable on the construction (like a puzzle) of the life, across the history of an immigrant, it falls down in topics and superfluous dialogues and does not develop anything more, that a simple seriocomic anecdote.“

 

The director in full shooting

It is a pity, but in this occasion I have gone out of the movies with the sensation of which so-so or what is the same not chus not even card game. Clear that were thinking that I should not to set to give birth to a movie … Lover can meet, of course. In the movie we will see as the protagonists face certain situations hurried up by the money. Somewhat surrealistic situations but that in some moment have been real, situations that try to show that everything is still equal although it is not like that, because the human condition is the one that is and, sometimes, the reality overcomes the fiction. The protagonist, from its innocence, raises the moral quandary if what it does is the correct thing in its struggle for the survival and for obtaining the fondness and the emotional stability in a life that it has not just seen in its sleep. The same doubts as the daughter it appears with the attitude that it has for with its father. And these doubts, perhaps, transciendan from the screen to the room. So it is no wonder that sometimes we use perfume so that the life, our own life, smells to roses.

————-

Another movie is the Argentinian Carancho.

To choose the name of a movie or of a book is not a trivial thing. Here I meet the difficulty of the language and, especially, with the use that they could they do in South America of the word carancho. I come to Google and one of the first earnings fits, perfectly, in defining the personage of the movie.

Carancho: Sedentary, natural bird of South America, it moves in accordance with the feeding plenty. Its feeding is based principally of carrion. It frequents the dumps and the shores of the highways in search of garbage.

Luján and Soda

I imagine that this will have been the intention of its director Pablo Trapero, with a noun to define the whole personage on whom its new tape is based.

The movie starts with a few information:

In Argentina more than eight thousand persons die every year in traffic accidents. There are more than hundred twenty thousand annual injured men. Only in last decade there were hundred thousand deaths. The millions in weight that every victim represents as for medical and legal expenses generate an enormous market supported by the insurance companies and the weakness of the law. With every tragedy, the industry is started.

And from here on, its director constructs an excellent movie that will compete for be doing by the Óscar to the best foreign movie in the next awards of the Academy in Hollywood.

Conciliation act

A lawyer, Sosa (Ricardo Darín) specializing in traffic accidents is on the point of recovering its license to be able to practise alone. It moves like a bird between the carrion that in this case finds it between the rooms of urgencies of the hospitals as well as the funeral parlors of the suburbs of Buenos Aires. Common places to find its clients. Soda wants to leave its work, a species of juridical study that, supposedly, helps the victims of the traffic accidents. But the reality is different and what hides behind the front is an underworld of underworld where it is dealt with the feelings, the need of the people for a few complaisant doctors survive, the excessive ambition of a few corrupt police officers, a few lawyers without conscience, with the crime, and a few judges and insurance companies that do the fat sight.

In this sordid world and when Soda is on the point of leaving it everything there appears a young and attractive doctor, Luján (Martina Gusman). Alone, provinces newly arrived person, pluriempleada survives stressed doing shifts between ambulances and guards of urgencies in a foreign city.

The love story arises between both protagonists in the same stage that will turn in frequent in the course of time: the street and the catastrophe of cars as witness. Together they try to change the situation. An unjust situation that turns into a maelstrom catching the lovers.

The movie is violent. It begins with a drubbing and finishes little less than with other one. With hard scenes, full of blood. The ambience where it develops is blackish, sordid. The rooms of the hospitals are sticky, ragged and dirty more own of see spending a rat that a white robe. The personages of Darín and Gusman are believable, austere, but effective. Expensive she of gullible, ingenuous and fragile (eye, he hides its dark side), he scorched gesture, but with face of good person. It gets into the foul-ups not for its own benefit but to help other persons.

The one who is going to see Carancho will meet a movie that narrates a social drama and a sentimental tragedy prepared of splendid form with a big dose of criminal intrigue, where the corruption is present with its economic fiddles (to a certain extent asumibles for all those that are in the ointment), but where also the much more worrying moral corruption is present. One does not hesitate to give a drubbing to one so that it does not put the nostril in matters that not at all matter for him or have to import anything for him. And neither it is doubted, from another side, of breaking to one the leg and then simulating a traffic accident to be throwing in this bitch life that has had them to live and extract the pesos to the insurers.

The final scene is of big merit. It achieves that the presents in the room we shout avenges, we go it runs flees, veto of this infernal world. And as when we were waiting for the seventh one of knighthood in the movies of John Ford we hope that Soda and Luján should receive the help that allows them to see the light of the sun. We want that Carancho is the Phoenix bird and that re-arise from its ashes and leave the dunghill taking between its claws only its beautiful trip partner.

Carancho is an unbreathable and hard thriller that narrates an energetic love story full of tears and of blood that does not make anybody indifferent.

 

Both movies coincide these days with the publicity board. And in them I want to see a small union connection in addition to its short title: a noun (Lover also can be the man who loves). Two movies have to do with the development of the human misery in its different grades and especially with the survival without hopes in which its protagonists are plunged. Terrible life, but also terrible is to live through it without the hope that that could change in some moment.

Square Luisjo


Bookmark

Filed file: Movies

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