Friday, October 21, 2016

Almodovar in top form.

Adriana Ugarte as the young Julieta in Pedro Almodóvars “Julieta”, based on three short stories by nobel Laureate Alice Munro.Image: Studio’s Entertainment

the CINEMA. DRAMA. Spain, in 2016. Director: Pedro Almodóvar. With: Emma Suárez, Adriana Ugarte, Daniel Grao, Darío Grandinetti, Rossy de Palma. Age limit: 11 years. Length: 1.39.

Death, sex and guilt are inextricably enmeshed in one another right from the start in the young historieläraren julieta guest love life. On a train that far through the night in the snow-capped Pyrenees, she finds a hot fishermen, and they have sexual intercourse within the sleeping accommodation. But on the same journey causes Julieta indirectly, another passenger’s death. She believes in all the cases; Pedro Almodóvars film is largely about the unspoken feelings of guilt. And the debt grows in Julieta, just like the child that becomes the outcome of the meeting on the train.

Sequence , the night train with its theatrical stylization, its economically sparse narrative and its doom-laden atmosphere – strengthened by references to Greek mythology and Alberto Iglesias sweeping stråkmusik in the Hitchcock-composer Bernard herrmann’s spirit – is a virtuoso display of Almodóvar. It is as if the director decided to make a cinematic counterpart to the brief and poignant storytelling in the literary model. “Julieta” is based on three interconnected stories – “Chance”, “Soon”, and “Freedom” – of the canadian nobel Laureate Alice Munro, even if the director takes great liberties with the material and also omplanterar it in Spanish soil.

“Julieta” will be as a thriving meeting between the two berättarmästare, and a return for Almodóvar to paradgrenen, it kvinnocentrerade the drama, after ten years of excursions into genres such as horror (“The skin In live in”), thriller (“the Broken embrace”) and feather-light comedy (“Dear passengers”). The content of the stories is probably as melodramatic, but the flamboyant gestures and the emotional outbreaks, which at least in the past characterized the director, this time is suppressed. Just as the feelings of the hardcover the phantom, which we get to follow both as a young man in the eighties (portrayed by Adriana Ugarte) as middle-aged in the present day (Emma Suárez), then Julieta sprained of life is withdrawn, tormented by the she lost contact with his adult daughter. Just as the director’s classic, “All about my mother” (1999) is the “Julieta” is a strong study in a mother’s grief , to have lost its identity and its objectives, and its meaning of existence.

“Julieta” signal a more avklarnad style for the director, but to the outer feels he is again: the environments, the clothes and the scenographic details, for example, works of art, is as urtjusiga as usual – and always have a stub function (thenote, Swedish filmmakers). Fans can also rejoice in Almodóvar favorite Rossy de Palma in the role of gråburrig, comically grim housekeeper.

One of the filmhöstens-haves.


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