The top 5 Cinema of the billboard

Manchester facing the sea

If ‘The son’s room’ recorded, in a crude and direct way, the sound of definitive death – the nails closing a coffin – ‘Manchester facing the sea’ prefers to film death working on the body and face of a man Exceptional Casey Affleck) who has decided to absent himself, facing the loss from an empty stare of tears. Like the daring ‘Margaret’, the previous Kenneth Lonergan film, a sudden death provokes a polyhedral reflection on the duel as a way of seeing the world. Lonergan combines present and past with goldsmith fineness, adding layer upon layer of pain in the portrait of an abysmal solitude that is both intimate and expansive, that seems imprisoned in a point of view but that overflows so that we understand the devastating effects Of the loss in a community. Less abrupt and radical than ‘Margaret’, but equally poignant in her quest for truth, ‘Manchester on the sea’ has the invaluable virtue of filming emotions face-to-face and without closing their eyes. Because it is not the same to tear our hearts and leave the wound open to give us a packet of tissues.

Billboard

11

Moonlight

It is the most beautiful thing in cinema, which can hijack life in its mutations (and if not, let Richard Linklater say so). Three acts, and we already have it: a child, a teenager, a young adult, and everything that happens between these three ages, off the field, like a backpack that molds the face and the name but not the way to be in the world. We are, therefore, closer to Hou Hsiao-Hsien or Edward Yang than to Spike Lee. Anyone would say that ‘Moonlight’ is the typical initiation story, and you would not go wrong. Considering that the film is located in a marginal neighborhood of Miami, where drug trafficking, bullying, and lack of opportunities are the order of the day, and that all characters are African American, it would be easy to imagine it as a Sequel to ‘The Boys of the Neighborhood’. What makes it great, Monumental in its exquisiteness, is that Barry Jenkins has managed to transform the topics of the ‘gangsta film’ with a protestant soul through a sensitive and universal look, more attentive to the gesture of abandonment and acceptance than in the banner of protest. ‘Moonlight’ understands that we can not talk about politics if we do not know who we are first and what place we occupy in the reality that surrounds us. There is, therefore, a chronicle of the forge of an identity that must fight against the image imposed on it by the environment, and, above all, a beautiful love story between two men, culminating in a portentous sequence, in which looks , The silences, the questions half, the seducc More attentive to the gesture of abandonment and acceptance than in the banner of protest. ‘Moonlight’ understands that we can not talk about politics if we do not know who we are first and what place we occupy in the reality that surrounds us. There is, therefore, a chronicle of the forge of an identity that must fight against the image imposed on it by the environment, and, above all, a beautiful love story between two men, culminating in a portentous sequence, in which looks , The silences, the questions half, the seducc More attentive to the gesture of abandonment and acceptance than in the banner of protest. ‘Moonlight’ understands that we can not talk about politics if we do not know who we are first and what place we occupy in the reality that surrounds us. There is, therefore, a chronicle of the forge of an identity that must fight against the image imposed on it by the environment, and, above all, a beautiful love story between two men, culminating in a portentous sequence, in which looks , The silences, the questions half, the seducc

Billboard

11

Toni Erdmann

It is likely that these days you hear that ‘Toni Erdmann’ is the comedy of the year. This would be fine if it were not for a small detail: Maren Ade’s film is not exactly a comedy. What happens is that one of his protagonists is determined to take his life as a joke, an attitude that does not please his daughter. His attempt to rebuild the paternofilial bond will open up a range of possibilities that lead the film to unforeseeable, absurd, and often humorous situations. The almost three hours of function are enlisted to the patience and freedom with which Ade allows the characters to develop, constantly raising the bet to the point of proposing a double climax (first musical,

Billboard

11

The city of stars – La La Land

Los Angeles is the city that venerates everything while valuing nothing. It is there where the cinema saw the birth of the first musicals, in those sets where Gene Kelly illuminated the now disappeared face of Debbie Reynolds as if bathed by the moonlight in Singing in the Rain. I mean, that paradise of mafias and baile, in which Cyd Charisse extended a leg like a watchman, in green stockings, while a gangster brought near a diamond bracelet to him. That place where dreams made a tap. And it is in Los Angeles where this film happens. “La land” is also a musical. It has the bill of the classics of the genre of the 50s, the choreographies of Stanley Donen and the colors of Vincente Minnelli, while opening the doors to a chamber filled with passions. She is an aspiring actress, And writes plays, although he works serving coffees right in front of one of Casablanca’s d├ęcor. He is a jazz pianist who subsists playing villancicos in a nightclub, sobbing for the memory of Chick Web and Thelonious Monk. It is a story of love and nostalgia, a story that is marking the passage of the seasons, from winter to autumn, And the emergence of an aesthetic tradition, led to a few spectacle quotas that make it come from bad height. The plane-spiral sequence inside the pool, at a party where every dress is like a flower. The planetarium scene, in which the protagonists join in a dance Sobbing for the memory of Chick Web and Thelonious Monk. It is a story of love and nostalgia, a story that marks the passing of seasons, from winter to autumn, and the emergence of an aesthetic tradition, They make it come from bad height. The plane-spiral sequence inside the pool, at a party where every dress is like a flower. The planetarium scene, in which the protagonists join in a dance Sobbing for the memory of Chick Web and Thelonious Monk. It is a story of love and nostalgia, a story that marks the passing of the seasons, from winter to autumn, and the emergence of an aesthetic tradition, They make it come from bad height. The plane-spiral sequence inside the pool, at a party where every dress is like a flower. The planetarium scene, in which the protagonists join in a dance

Billboard

11

Loving

No grandiloquent speech is needed to show that the xenophobia of Trump’s diatribes is part of America’s DNA. The raw material – the real story of Richard and Mildred, condemned to exile for committing the sin of marrying, he white, she black – is a putlocker movie of claiming, but Jeff Nichols avoids dramatic catharsis and ideological sensationalism with empathy and subtlety . What matters is to film two people who love each other, and who will do what is necessary so that social pressure does not break their winks. Loving has an infrequent humility, which does not let the imperious force of an injustice turn off the light, the intimacy, the shared warmth of two lives that want to be lived without raising the voice, enormous in their smallness.




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