- Bob Roberts (Tim Robbins, 1992)
What if Bob Dylan was right wing? This is the question asked this actor-director courageous path, irregular, obstinate in making us think. The film is just that: a singer of exceptional talent and charisma, able to draw the masses away from the ideology of Minnesota. Where did you take his political concerns? What the White House, perhaps?
Narrated in the form of fake documentary by a journalist played by Giancarlo Esposito, milk bad movie is a logical process that is open-ended criticism very hard to mass media, popular music, journalism, politics. It is well made, managed effectively and sobriety, and masterfully performed.
- Cavalry Honor (Albert Serra, 2006)
One of the best adaptations of Quixote (one of my favorite books) I know: what happens in the novel where nothing happens? How to behave between action and action heroes, including episode and episode and episode famous celebrity? Do they make sense of the ridiculous? "Consciousness of themselves?
One of the fundamental features of the novel is the pace: the first part passes in three days. Here it is broken completely in favor of lyricism, reflection, rest. The film is virtuous, the exceptional photography, direct sound manicured. Interpretations are handled by actors amateur unscripted. A gem is not easy to see. Pure beauty.
- Ghost Dog (Jim Jarmusch, 1999)
Another of the best adaptations of Don Quixote I know: How do you bring the book to the New Jersey of 90? The gentleman obsessed by the books of chivalry is, here, a huge black (Forest Witaker), a murderer for hire, who constantly read the Hagakure and abides by its code. Sancho Panza is become a Haitian ice cream vendor who does not speak a word of English (Isaak Bankole). The bad guys are Italian gangsters operetta singing Public Enemy and are governed also by a code and anacrínico obsolete. Consistent with the films of Jim Jarmusch, with photography by Robby Muller and music (all rap) the RZA and Wu-Tang-Clan
- 9 songs (Michael Winterbottom, 2004)
The story of a failure. The original idea of \u200b\u200bthe film was adapted Platform, the brilliant novel by Michel Houellebecq imperative, which is aimed at the adventure. The original story was relegated from the very beginning to focus solely on the relationship between the two main protagonists. These are only two things in the whole film, go to concerts and fuck. The two things are filmed without the slightest taboo a sack. When everything is always so obvious trick: this is not what they do, but what they say. Or rather, what not to say.
Shot with digital camera back, the film is immersed in live concert sound and public des films, subjectively, leaving the entire songs sound as an interlude between fucked and fucked. And what music selection: Von Bondies, Michael Nyman, Franz Ferdinand and the Black Rebel Motorcycle Club opening and closing action, among others. The set is disturbing, beautiful, exciting. A story of passion, loss and emptiness.
- Heat (Michael Mann, 1995) Another
film about relationships: relationships, love ups, loss, and, above all, the relationship between a bank robber on a large scale and police pursued. Each frame is a work of art. The aesthetics end of Michael Mann, his elegance, his virtuosity, his ability to manage large budgets, their sense of rhythm, they forget, often, we are facing an exceptional director of actors. And what actors: Robert de Niro is the thief. Al Pacino the cop. The secondaries are invariably in a state of grace. The plots intersect with agility: the police shattered his life, his unfaithful wife, his stepdaughter out of place (one of the first papers Natalie Portman, at age eleven), with millions of reasons to throw it all away. The thief, sociopath, tidy, extremely perfectionist, neat, violent, desperate, empty. The couple formed by the head of the band, compulsive gambler with debts, and his wife, who apparently holds only for money. The addiction to adrenaline, lifestyle opposite, form a complex picture, nothing Manichean, stimulating, fast-paced narrated. Los Angeles appears as a protagonist of the story, filmed from unusual viewpoints, all unpublished. A delight.
- Goodfellas (one of ours) (Martin Scorsese, 1990)
Against
cool is the last film contrasts this another shot exclusively from the point of view of criminals: the Mafia portrayed inside, told by a supposedly repentant exmafioso in fact was simply lashing, not already been forced to pull out as it could.
Scorsese directs a cast as brilliant or more than the previous again Niro, Ray Liotta, making it perhaps the best role of his career, Joe Pesci, Lorraine Bracco, Paul Sorvino. The secret: the film is a hidden musical. Scenes de ballet performed by Robert de Niro continues his eyes to their future victims to the rhythm of your love Sunshine of , the Cream. The victims found one by one to rate Layla. The pursuit of marriage paranoid protagonist, drugged up to their eyeballs with Monkey Man, the Stones, background. The protagonist looking directly at the camera, speaking to us. The last meeting of Robert de Niro and Ray Liotta in a bar, with the camera moving forward while opening the flat, then, do the reverse tracking shot zooms while to let the two key players on the screen while the background zooms in and out and, above all, one of the best scenes in the entire history of cinema: the sequence shot in the marriage enters the Copacabana in the kitchen. Every time that ye seek discover new details.
- Jackie Brown (Quentin Tarantino, 1997)
story not so much a gangster as a (another) story of losers. The first script (and I think the only) authoring Tarantino filmed by others, adapting a novel by Elmore Leonard master, the king of desperate love stories, twilight (in this case, the two main characters is played by Pam Grier and Robert Forster, two players finished rescued from oblivion for the occasion). Probably the best film of its director. To highlight the opening credits (with a sad song by Bobby Womack & Peace Incident at 57th St.) and the assassination of Chris Rock (yes, also filmed for Tarantino, a specialist in getting serious interpretations apparently freaks actors) by Samuel L. Jackson with a flat chamber that recreates the opening credits of Touch of Evil, Orson Welles. Almost nothing.
- buides Amb les mans (empty hands) (Marc Recha, 2003)
guy l'Hospitalet, my hometown, played by Eduardo Noriega, who learned to speak Catalan for the occasion, sneaks into a train to Paris. In Port-Vendres is going down leg for fear that the ratchet. There you will discover a very particular microcosm, narrated to the rhythm of the trains that come and go. Minimum film, delicate, sensitive tribute (curiously) the Hitchcock film, made by one of the most talented directors of English cinema. Curious couple
architects: Port-Vendres is the town where a Charles Rennie Mackintosh exile in very low hours, shortly before his return to England to die in poverty, alcoholic and mentally shattered. There are dedicated, above all, to paint a series of exceptional watercolors, designed unsuccessfully to win four more to follow bursting peel liver. Sold not one. Bailout is a stimulant made that, precisely, will see the film with different eyes.
- The Quince Tree Sun (Victor Erice, 1992)
Another story of failure. Antonio López painting a quince. As easy as this. Perhaps the film is narrated rather the creative arts in the history of cinema, along with Rapture , de Zulueta, and the two light years away from the beautiful Picasso mistero you , Clouzot.
- Children of Men (Children of Men) (Alfonso Cuarón, 2006)
A paradigm shift up to Blade Runner . Science-fiction narrated not under the influence of the comic or Edward Hopper's paintings, but the dicumentales straight out of CNN, images of refugee camps in the Third World bidonville. The starting point is a complete and utter despair: What would happen if the world would stop children being born? Clive Owen plays the protagonist, a broken man, widowed, alcoholic, located in the midst of utter despair, reason to keep fighting. Cuaron's direction bordering on perfection, and just relaxing in a final which, unfortunately, seems imposed by the producer
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