finally reaches our screens "Free Zone", one of the more robust and complete tapes of the last Cannes festival. A refined and intelligent film, with undeniable artistic will and that will delight the most refined film buffs. Worth as a warning to newbies: "Free Zone" is a film built through lengthy sequence shots mostly, overwhelmingly slow a pace, the typical work "of worship" for the intellectuals of the thing we scratch the knob and then Let 's smoke our cigarettes we pedantic concepts, formal, human, divine and the political. Amos Gitai
was a relatively unknown director in our bull skin until just a couple of years a distributor dared to take on DVD some of his works and, all told, the Film Archive in Madrid was marked Doré dramatic cycle with some of his best work. You could say a while now Israel's cinema has had a bit more coverage in the independent circuits (other film is emerging, with all the good and bad that has that, and so finished jumping on the wagon samples Asian, African ...)
All this serves as a cover letter for a work blessed by great performances and an unusual and radical aesthetic approach that refuses, for example, to leave the interior of a car for much of the and a half hours of footage. The start of the tape leaves no room for compromise: a close-up of the face of Natalie Portman convulsing in tears for nearly ten minutes. Challenging interpretation (also a challenge to the patience of the average viewer is dropped by the room to see what it is) as the starting gun for a political debate especially well done. There demagogic approaches on the tape (which is appreciated), but simply a metaphor subtly bitter about the roles of the United States, Israel and Palestine in recent years.
course, had to appear typical figures (the Palestinian's good about your little Oasis shattered first by Israel tanks and later by Muslim fanatics, too insensitive Westerners who come to do some sightseeing ...) and yet , "Free Zone" is constructed with a strategy of car / border and interior / exterior reminiscent of Wim Wenders the best (the final shot of Paris Texas) or Kiarostami's "Through the Olive Trees."
A interesting film definitely has barely played the advantage of having Natalie Portman headlining, essential for all followers of international independent frikerÃo, well visited by the rest of the world. Refrain, by the way, fans of "V for Vendetta"
0 comments:
Post a Comment