Timothée Chalamet takes us to the edge of the anxiety hole with the fascinating buscavidas

Between Asia and Europe, table tennis is a fashionable sport, in EE.UU. It’s just a semi-professional discipline that doesn’t matter to Nadia. So Marty asks her for nothing more than to join the training in the dark bars of the neighborhood with the zapatos salesman at his business, who hopes to run the business with her great business skills. Marty wants to triumph in the world championship and win ping-pong in his country at the top of major sports such as tennis. Es decir, strive for it a size they cannot dream of in their neighborhood.

Without embargo, this young man is happy and rude, with an ambitious bigotillo, frenta a practically unsalvageable obstacle: on one’s own personality. Impulsive, amoral, self-centered, narcissistic, Marty is absolute chaos, pure self-sabotage. For pride or interest, he is able to implement any trope: steal, steal, lie… always with undesirable consequences for his future.

Marty Mauser is also the protagonist Marty the Supremenew movie by Josh Safdie (New York, 1984), which is very loosely inspired by the real life of tennis pioneer Marty Reisman. The character is best seen in the protagonists of Safdie’s previous films directed by his brother Ben – who has been studying for several months. Smash Machine–, all of them buscavidas outside the system, always saves and neuroticsunable to ignore the attraction the precipice creates.

En Good time (2017), Robert Pattinson was the one who lived the life of a poor devil, more often than not among the young man at the table, falling into the criminal underworld to cash in on his little man status. En Diamonds en bruto (2019), comedian Adam Sandler shines as a sleazy reveler who wants to pay his taxes by ditching everything he holds for a dance party. Ahora It is Timothée Chalamet who completes this trio of losers in power, always on the hook.

Chalamet won a Golden Globe for his work in the film and is the Oscar favorite despite strong competition from Ethan Hawke (Blue moon) and Wagner Moura (Secret agent). What makes interpretation great, especially in terms of its physical description and intensity, is the actor’s ability to keep Marty’s side, that we empathize with him throughout, how hideous is what he says or says. It’s at the mercy of a few celebrities, and Timothée Chalamet is curtailing it for us on screen.

Josh Safdie’s film preserves the stylish rasgos for those who have made a name for themselves working together. Ah, it’s that radiant beat that trudges to the end and no decade, a visual highlight that favors an expressive short plan and meticulous production design that recreates all the chaos and strife that New York hidesespecially in a period portrait, lively and convincing.

Far more striking, for example, is Safdie’s film’s anachronistic use of music, which harkens back to the 1980s in the original soundtrack by Daniel Lopatin (aka Oneohtrix Point Never) as well as in the use of songs such as Conversion y Everyone wants to rule the world de Tears for Fears. Also about envesada and surprising narrative structure, where time management goes against any manual guide or digital genius of certain passages such as the credits with spermatozoa or parts ping-pong. Safdie’s artistic megalomania is in some ways related to his personality.

Filmmaker rodeo además and Marty de the coral section, where stars, pledges and amateurs mix together, enrich each other perfectly, also because the director always knows what to focus on and how to do it.

The standouts are Gwyneth Paltrow, who always seems as dignified as melancholy in the shoes of a 1930s movie star who has adapted to being a blooming woman; Odessa A’zion (protagonist of the series I love LA), Marty’s childhood friend and lover and the only person capable of following her rhythm; Kevin O’Leary, who plays a vampire tycoon who enters the world of tennis; y Abel Ferrara, the director whose work permeates Safdie’s film adn – alongside Scorsese and Cassavetes – and who here gives life to a mobster of extravagant humanity.

Marty the Supremewith his mix thrillersports drama and dark comedy, we are on the edge of ataque de ansiedadbecause some will wish it. It is a frenetic, aggressive, noisy film, in constant motion, which results in the viewer experiencing a mixture of fascination and contempt for its protagonist.

The film has its pegasus, of course, as a narrative thread – a fictional character – or a character – the taxi driver of little Tyler, the Creator – who does not even have a story, and an ending in which Marty brings redemption that will not suit the whole world, but Safdie is aware that she is creating the perfect artifact to be implanted into the collective pop imagination. Let’s continue this journey to find ways to restore our voice.