Ulrike Ottinger, director and dramaturg, is unfairly overlooked in Spain, but she is essential to understanding the genre reversal (personal and cinematic) that naturalizes us today in films like Conann, Bertrand’s horror. Cazafantasmas by Paul Feig.
It was Agnès Varda of Nuevo Cine Alemán, of whom we only record Wim Wenders or Werner Herzog, and five years before Sally Potter first adapted Virginia Woolf’s novella, Crazy Orlandowith Delphine Seyrig as a transformative saver in industrial Berlin.
We previously created an unforgettable pirate captain (Madame X: The absolute ruler1977) and continued to duplicate pop myths Dorian Gray in the mirror yellow print (1984) or Joan of Arc of Mongolia (1989), ambassador with miracle odd excellent. There have been three times this year that I haven’t read any fiction. The return with Isabelle Huppert in the mass of Erzsébet Báthory should be experienced as an extraordinary cinephile event.
Huppert of the opera parranda
A film that is called an adventure, but it used to be a sequel gags above pictorial vivants followed by sumptuous and without regard to causality or plausibility the return of the Condesa Sangriento in Vienna in search of a grimoire while being chased by a menacing pair of vampire logos and Rubi Bubi, who lived Thomas Schubert (Red sky), on vegetarian sobrino.
As usual anecdotal, performative and literal about the story of Elfriede Jelinek (Pianist), Ottinger seems little interested in forcing any reading of Huppert’s character; simply Hungarian condensed as delicious, seductive and childlike as the archetype is. “I contacted her at the end of 2000 and she was very enthusiastic about the project”, so much so I will wait two decades before production is expected to come together. “Isabelle can do whatever she wants, although she usually eats psychology papers and has a lot of dialogue.
In return, the filmmaker is interested in “the kind of film that works like a train that goes through rare phases, whether it’s impressive and fascinating in its own way, whether it’s its own peculiar eccentricity.” Indeed, it’s in the high points of the story where the film shines, in Huppert’s polished manners, enjoying his infamy as a vampire, in the puns and baddies that explode in every scene, and in the collection of musical numbers crowned with a beautiful portrait of Conchita Wurst.
Ampulus draculin-The Eurovisual canvas surprises but works to actualize this nocturnal creature that emerges in times of excessive control: “The ‘forces of order’ try their best to ensnare vampires, but in reality it is only their own and their imaginations that allow vampires to exist once they enter.”
What is certain is that in the last few years cinema has produced more mythological revisions of the chupasangres than during the previous decade: Dracula de Luc Besson or el Nosferatu de Eggers, very serious, to de Radu Jude, openly postmodern and pathetic. Including Burnin’ Percebes, prepare now de vampiros, with Laura Weissmahr.
‘At The Sea’: acting light
Precisely because of Glenn Close’s vacancies, Amy Adams’ six unsuccessful Oscar nominations may finally be rewarded with Kornél Mundruczó’s new film. Fraudster named arrested Vanessa Kirby, Lt Fragments of a womanand the achievement of the Golden Plate (after Estella Rose Byrne v Yes, I’ll give you a patada), actress Dream they also tend to have a lot of numbers for the Academy club. Apuestas aside, or not so much…
Why? By the sea describes the journey back home and the possible atonement of a choreographer who attended a rehab clinic for alcoholism without denying her low conscience from her own traumatic injury. In the end, it is a film about the characters and especially about the actresses.
But there are various triumphs that punctuate this potentially wretched (and horrifying) tale, given the tones drawn in the palette of dramas about alcoholism and trauma. First, Katy Wéber’s guide is afraid to descend from the realms of contentment of the protagonist who is mother, lover, boss and friend only before alcohol.
Adémasi, yes, share the truth about the dark hija and garra Fragments of a woman Mundruczó remains an adaptation of Elena Ferrante’s tibia in her pursuit of progressive minimalism, which trudges with tailoring Cassavettian discussions, between laughs and cries, but ends in a minimal climax, looking more for the veiled feeling of Oz… Let’s go, des-melodrama. Apart from the futuristic death of Amy Adams, this is an interesting film.
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