First of all, Happy New Year. I’ve never been in mood for resolutions, because I don’t accomplish half of them, thus what I can say is that I will try to be posting at least once a month. Too many things in my head, writing on movies require certain concentration I sometimes lack of. Sorry!

Still having some films I’d like to talk about, but I’m going to start this year 2012, with this movie, I went to see last night, on my own, while it’s still fresh in my mind, and all the feelings and emotions provoked, are still pounding.

If you are familiar with The Brontë’s novels, then you already know their stories are characterized by portraying tortuous and stormy love stories, in which society conventions have a very important role, so as the nature environment.

I was ready for the drama, really, I don’t consider myself a weak and super sensitive girl who always cries at the movies, but I wasn’t expecting such intensity in this film as to end up crying nonstop. Never left a cinema with tears in my eyes until last night, and believe me, they weren’t caused by disappointment at all. Jane Eyre is pure poetry.

Life had never been merciful towards Jane Eyre since she became an orphan and was supposedly under Mrs. Reed’s care. Rejected and abused by the members of the family, she’s eventually cast out and sent to Lowood School to be straightened up. Hard discipline, with beating punishment, miserable living conditions, lacking any expression of affection, will mark her life forever, but Jane, as a rebel character, will develop an inner creative world she will portrait in her paintings.

Once her stay in Lowood is over, Jane Eyre (Mia Wasikowska) will have to work for living, she’ll move to Thornfield Hall, working as a governess of a little French girl, Adele, apparently adopted by Edward Fairfax Rochester (Michael Fassbender), due to some kind of former relationship.

These days are the closest to happiness for Jane, teaching her pupil, enjoying the company of Mrs Fairfax (Judi Dench), the housekeeper, receiving kindness and affection. Until the landlord of the estate arrives to settle  temporarily at the mansion.

Edward Rochester is the first male contact to Jane, and initially is not a very pleasant one. He’s a strong character, very moody, strong, rough, who spreads some kind of vice and corruption, completely alien to the young teacher. Still, Jane is not overwhelmed by such destructive personality, and with all the respect, she manages to earn her landlord’s respect, and complicity.

One night, Jane is awaken by the feeling of a presence by her bedroom door, and weird noises. Alerted, she discovers Rochester’s room is on fire, and she will save his life by waking him up and trying to stop the fire. The landlord’s attitude, fully in debt with the governess, will radically change, he trying to earn her body, and soul, something she will initially reject, confused about her feelings and his intentions.

Thus, a tense friendship among them will go on, with Fairfax flirting with Mrs Ingram, and Jane silently feeling tortured, because she doesn’t believe herself worth enough for the gentleman’s love.

Inevitably, once Jane receives the sad news of his beloved engagement to the superficial lady, all the cards on the table, Fairfax will declare his wish of sharing his life with her, and she will finally accept. Unfortunately, the terrible secret he’s been hiding from her all this time, will bring out just about to get married, and Jane will run away from Thornfield Hall, completely devastated, to be sheltered and adopted as a new member of the family, by the young Rivers. But she will be unable to forget who she’s devoted to.

Long sight right now while writing these lines, friends. It is really a sad story, which nowadays, with law adapted to modern times, and women stepping upwards at all levels, after a really long struggle our generation is not really aware of, perhaps could be sorted out easily. Not in that time though, when women were 100 steps behind men, and they couldn’t even freely think, nor act, and even less live.

The director, Cary Fukunaga, knew from the very beginning how to depict Jane Eyre. Not following the current canons of beauty, he looked for a cold and fragile character, still strong as a consequence of the tough times she had to pass through in her childhood. Mia Wasikowska is a gorgeous actress, capable of transmit so many emotions at just a glance, she’s just stunning at her role of Eyre. Really impressive! Those moments, subject to Fairfax’ pressure, when he’s trying to seduce her in the beginning, to finally fall in love with her, are so intense, so emotionally loaded, and she stands firm, because she doesn’t want to lose her freedom, she doesn’t want to endure more pain than is normal, and although she would give him absolutely everything he’d ask, she needs that security, a vicious character as Edward couldn’t ever provide.

What can I say regarding Fassbender? Let’s leave the hot part aside, I’m trying to be objective here. Up to date, I cannot find any weak point to his performance, and definitely he’s to be one of the greatest actors of this new decade, I’m positive. Related to his role as Edward Fairfax Rochester, he’s also fascinating. The strength and manhood he spreads, his strong and vicious character willing to be tamed by the innocence and purity Jane, seeking for an act of kindness which he thinks that will free him from his terrible burden, is just awesome. Passion is the engine of his life, but rejection is something he cannot deal with quite well. Thus, if Jane is not to be by his side, Mrs Ingram will entertain and exploit his superficial side, so he won’t be alone.

St. John Rivers (Jamie Bell) is just the opposite to Rochester. On one hand he doesn’t conceive women as equals, and on the other, love issue is a weakness, and he doesn’t not tolerate feelings and passion over pragmatism, tradition nor manners. His intentions towards Jane are too honest, but how can he conquer her after the romance, and its consequent pains she’s been living with her former employer? Jane wants freedom, no matter her life can be miserable.

It’s also remarkable the importance of nature in the film, from the weather to the thick and scary woods, including the palette of tones and shadings applied. Forces of nature really had relevance in the Brontë’s universe. The darkest moments Jane passes through, are enhanced by the rough weather, especially in the beginning, when she’s getting away from Thornfield Hall, unable to stand by Edward, after his terrible secret is reveiled. She’s devastated and heart broken. The storm is full of rage, almost killing her. Lowood is dark and grey, so is her life. But when everything seems to be going well for her, the warmth also accompanies her state. Despite the age of the mansion, she feels fine with the life she’s having, enjoying teaching Adele, and the friendship of Mrs Fairfax, and the hearth provides such smooth atmosphere.

Both the woods and the mansion suffer a transformation when the master arrives. The woods, covered with thick fog and humidity, is the place where their first encounter occurs, the difficult visibility causes Rochester’s horse gets wild, him falling and twisting his ankle. And regarding the mansion, all of a sudden a strange and uneasy atmosphere is perceived by Jane. It’s as if the place was not safe any longer, and some kind of danger was about to happen anytime.

Thus, the characters, the houses, the nature, the lights and tones… everything is masterly put together in order to offer an adaptation of one of the most popular classic novels of British literature, enhancing this tortuous and painful story of love, and avoiding superficial and ostentatious resources, making of this, a direct, stunning and brilliant film.

Believe me when I reckon, it’s been too long time since I haven’t felt so many emotions thanks to a film. You might think it’s a movie for women, perhaps it is, but I really insist, it’s worth seeing.

After a couple of carajillos and a beer this is what we swallowed.

THE DAY HE ARRIVES, Book chon ban hyang (2011)

Asian cinema is a still pending subject for me. I’ve enjoyed some of these already modern but already  horror movies, even their western remakes, from The Ring to The Audition, Zatoichi, Dolls or Battle Royale…

Regarding classics, I’ve seen some of Kurosawa’s but it wasn’t the right time. The slow rhythm of the stories require me to be in the mood, and I wasn’t, in fact I was imposed to see some of them, thus I didn’t get to enjoy them.

I’m an objective and positive person, otherwise, after the experience lived with The Day He Arrives, I’d give up on Asian films.

During the projection I passed though all kind of mental states. From concentration and interest, to astonishment, flipping with part of the audience passionately clapping, and eventually wondering whether I’m so stupid I didn’t get the message. Well, apparently I’m not, two of my friends took a nap, and I was exchanging glances with another friend who was in same state as I was. Total disaster, poor people, they even apologized for such crap.

A film teacher and temporarily retired filmmaker, Sang-Joon, is spending few days in Seoul, mainly to enjoy his old friend and mentor, Young-Ho. Basically the film recovers his encounters with students who recognize him and try to approach him, and the nights plenty of booze and deep thinking conversations with his friend, and a close acquaintance of his, all this put aside when the beautiful owner of one of the taverns turns up into scene.

Somehow it reminds me of the brilliant Groundhog Day, in the sense that each day Sang-Joon spends in Seoul is a repetition, with slight changes. High spirits get low, the barmaid and he get close up to physical contact, and everybody around him seems to get tired of him. Apart from that, nothing else happens.

Thus, there I was, flipping for around 80 minutes, without understanding much, giggling due to extreme zooms, weird takes, and uncomfortable silence. Really, it was a waste of time, and my feelings were awkward. If you get to see this film, and understand something else, please, let me know.

LIVIDE (LIVID), Alexandre Bustillo & Julien Maury (2011)

After such crap, the group divided, some attending the remake of The Thing premiere, and we heading to shit in our pants with a dose of French horror.

After the wild A L’Interieur, commented a couple of years ago in this blog, the expectations were quite high. Truth is we didn’t get disappointed, but Livide doesn’t reach that level of insane brutality. Still, it was worth seeing.

In a French town by the sea, lately disturbed by the increasing rate of children disappearances, today’s Lucie’s first day as social worker trainee. Her boss, madame  Wilson, a rough woman, guides her in the route to follow, introducing her to the old people barely able to take care of themselves, she’ll have to take care on a daily basis. Basically her duties are visiting the patients and supply them with medicine.  But she’s asked to wait outside in one of the stops, at a very old mansion almost in ruins. Wilson comments Lucie is still not ready for such challenge, immediately awakening the young girl’s curiosity, who will cross the fence and get into the house, to discover the horrible picture of a very old woman, Mrs Jessel, in a deep coma.

Wilson explains Lucie, Madame Jessel used to be a very established and strict ballet teacher who amassed a vast fortune hidden somewhere in the mansion.

When telling her boyfriend about this shocking experience to her boyfriend, frustrated for working as a fisherman and sick of his boring life, he quickly convinces her and another friend of breaking in the house and look for a treasure which will allow them to have the good life they deserve.

As you can imagine, the apparent static house will immediately react against the breakage, with surprising and horrible consequences for the three of them.

I did like Livide, although many people got really disappointed. It’s easy to set comparisons with A L’Interieur considering both are tagged as horror films, however they are completely opposed. The greatness of the first one was perhaps the fact that the crazy and brutal story was focused on an act of revenge by an insane woman, but keeping close to what we could call reality. I mean, not likely, but something like that could ever happen. We all know world is falling apart and everything can be possible.

Livide is totally different. A haunted house and its hidden secrets are the main protagonists in this story, opening a door to a series of brutal and supernatural events. We’ve seen many stories of haunted houses, and evil powers acting against people unlucky to be there at that time. It’s a repeated pattern, and probably that’s why great part of the audience got upset.

In such way, I must admit Livide is not so original, and the fantastic element is a bit forced. There are still some details I’d rather not reveal, which I still don’t comprehend, and in my opinion, are completely unnecessary.

As a horror movie, it’s pretty enjoyable, anyway. Plenty of disgusting and brutal moments for your pleasure.

The roughness and spontaneity is lost in Livide, on behalf of a more twisted story, combining horror with fantasy, but not being totally consistent nor shocking as A L’Interieur.

I dig it, honestly, but sometimes when your starting register is so powerful and remarkable, audience will become very demanding, and reaching such level is not something easy.

Wish I could talk about more films from Sitges Film Festival 2011 edition, but unfortunately, not press registration, bad planning, and lack of time and money, only allowed me enjoy a wonderful Saturday in town. Can’t complain though, for I had tickets for just two films, and ended up attending 4,with a result of 3 positive and worth seeing, and one a total joke.

I’ve not too much experience regarding film festivals, but I’m starting to think they’re as worth attending as music festivals, especially if contents are related to genres you love.

I’ve come to the conclusion I’m trying to get more involved in the future, in order to discover new proposals, and opening to new stuff. And of course, the possibility of meeting friends and share interesting conversations regarding all this marvelous world is simply priceless, and helps you realize how much you still can learn, and set new targets you to focus on.

So here it is my Sitges experience I want to share with you. Hope you enjoy.

DRIVE, Nicolas Winding Refn (2011)

There are many components in this explosive cocktail as not to fail: Ryan Gosling, cars, pink neon credits, 80s inspired soundtrack, violence and blood…  Nothing could be wrong, and in fact it didn’t, Drive is gonna be the hype of the year, but it’s worth it, believe me.

The Driver, by Walter Hill, as a strong source of inspiration comes to mind immediately. And of course, memories of Bullit or Vanishing Point also spark underneath.

The driver (Ryan Gosling) is a workaholic. He devotes his life to work with cars, as a mechanic in a repairing shop owned by his mentor, Shannon (Bryan Cranston), who also introduced him into Hollywood as a stuntman for car action scenes. Moreover, he performs occasional driving for robberies requiring a professional driver for the getaways.

He’s a guy with no identity, no attachments, not relatives known, and not a very talkative person or emotional either. Until he gets acquainted with his neighbors. A young woman, Irene (Carey Mulligan) and her kid, Benicio. A kind of platonic story starts, with the shadow of Irene’s husband, serving prison for armed robbery.

In the meantime, Shannon is making business with dangerous people, in order to get enough money to develop a car prototype the driver would race with, involving lots of money. The associates, Nino (Ron Perlman) and Bernie Rose, are the kind of guys you don’t mess around with, and they accept to invest, supervising and nosing on the preparations as to ensure their money is safe.

Eventually Standard, Irene’s wife, is released from prison, which means the friendship among neighbors should logically come to an end, for obvious reasons. But nothing was said to be that easy, and Standard is attacked and beaten for unfinished business, up to a point if he doesn’t carry out a robbery at a pawn shop, his family will suffer the consequences. And who will do the driving? Easy to guess.

What seems to be a non risky job, turns out to be a trap, and the driver will be forced to apply all his skills and cold blood to get Irene, Benicio and himself out of danger.

The way the plot is developed is perfect. Opening with a robbery as a way of introducing the driver to the audience, as cold, calculating, and professional, is enough as to catch the bait.

Although the start of the film is powerful, according to the typical pattern of the action movies, with the first 5 minutes creating tension, the following change as to introduce us to the actual plot is radical in its rhythm, focusing on the strong attachment among the driver and his neighbors, Irene in special. There are some moments you can think of another cakey love story, as the tone is very evocative, takings are very artistic, and the whole thing is kind of bucolic. But it’s a good technique, to enhance the super blow to come.

Really, Drive is the perfect shot of action. It’s violent, dynamic, surprising, bloody and mean. Beware! It’s not to be related to last year’s major action releases, such as Expendables or Machete, better considered as just entertainment and a great laugh. Drive is serious in its story, not aiming to be taken as a joke. Characters are not super heroes but just the opposite. Standard is a vulgar robber, the driver is a mechanic and Irene is just a waitress. If you think of the mob side, involving Albanian mafia, believe me, there’s no glamour or attractive in that.

The cast is something to take serious. With Ryan Gosling, absolutely brilliant, confirming, not only he’s the most wanted man in the world, but also a great actor, with a promising future ahead, but also featuring one of the current hottest goddess Christina Hendricks, a rough Ron Perlman, and the innocent but seed of the whole mess, Carey Mulligan (truth is her performance is not so consistent).

Release date in Spain is due to the end of this month. Sure I will repeat and will go to the cinema to watch it for the second time. Believe me, this hype is worth seeing, and most likely is to be one of the films of the year. hope you like it!

KILLER JOE, William Friedkin (2011)

After an extense career as director, featuring more than 20 films, including classics such as The Exorcist, The Cruising or The French Connection, Friedkin is not expected to prove anything. Perhaps, because he can do whatever he wants, he’s delivered this shocking black redneck comedy this year, away from social politeness.

The Smiths are pure white trash. Dumped from his mother’s house, Chris (Emil Hirsh) asks his father for money and shelter. He’s in debt with Digger Soames, the kind of big guy you cannot play with, and his life is in risk. Ansel has no money and if he had, he wouldn’t spend a dime on his stupid boy, his wife Sharla (Gina Gershon) would not allow it.

The only solution is contracting Joe Cooper (Matthew McConaughey) to kill Chris’ mother, so they’d be able to claim for her life insurance policy money, pay the killer, clean the debts and share the money among the family.

Problem is that Joe Cooper only accepts prepaid jobs. But he finds a way to ensure the payment. Dottie, Ansel’s 12 year old daughter, a night walker and a very special girl, still virgin, will be the pledge.

As soon as the agreement is done, Chris will regret having ruined his sister’s life in the hands of the killer and will try to put things into order.

Killer Joe is an excessive story. The protection of the underage is not valid here. Dottie is to fulfill Joe’s requirements and is a grant for payment. Everything is unacceptable and morally wrong. But who cares? Anything goes.

Dialogues and situations are so way out of line, so absurd, while watching the film I was totally shocked, so astonished, I found myself laughing nonstop. The way all things are messed around, how situation is getting more and more twisted is insane.

Such extreme the contents are, don’t think this film is being released at any cinema. Positive Friedkin wasn’t looking to be acclaimed nor praised, he just doesn’t care.

Therefore, if you are sensitive to certain subjects or morally concerned as not to understand this film as a joke, don’t waste your time watching it, otherwise you’ll get angry and disappointed. I had fun though.

Fall season and Halloween knocking at the door have caused the need to swallow Carpenter’s classics again, and together with Cronenberg’s, I’m trying to gather all his films.

No doubt he’s one of the top masters in horror/sci-fi genres, and personally I’d include him in my top 5 of directors.

The Fog was created during his golden decade, and although wasn’t as shocking as Halloween or The Thing, nor so genuine as Escape from New York or They Live, this horror tale is equally enjoyable.

About midnight, April 21^st, in Antonio Bay, in California. People from this nice fishing town by the sea are hosting the centennial  of its foundation.

During the witching hours lots of weird incidents occur all along the town. Empty cars horning, TV sets switching on, glasses breaking… during that crazy hour, in the church Father Malone discovers a hidden diary written by his own grandfather. The real terrible history of the town is depicted on those pages. The disgust caused by the upcoming leper colony close to the town led by a rich man named Blake, and the seek for the gold these people were shipping, forced the founders  to sink their vessel, Elisabeth Dane, by crashing it, with all the crew dying hopeless.

During the celebration night, a glowing deadly thick fog, bringing out nonhuman creatures resembling pirates, seeds panic and death over the town. Blake and his subordinates are back for revenge.

The owner of the local radio station settled at the old Lighthouse, Stevie Wayne (Adrienne Barbeau), on one hand, and another neighbor, Nick Castle (Tom Atkins), on the other, will soon realize something threatening and evil comes with the weird glow, and will put all their efforts  to protect the town.

After the huge success of Halloween, John Carpenter decided to continue working on some horror theme title.

The Fog wasn’t generously budgeted wither, but the director managed this wasn’t an obstacle for delivering a story in which supernatural powers were involved.

Truth is that, probably for this reason, we are not standing on front of a slasher, gore film. Executions are not super obvious and lack of blood unfortunately lessens the impact these could have caused.

Same with Blake and the foggy creatures. When I commented on Assault on Precinct 13^th, I was supporting and cheering the fact that none of the gang members was highlighted. Faces weren’t important, the plague-like effect of all of them creeping and moving incredibly fast around the police station as an unnatural threaten was the point. However in this case, these weird creatures are already non human. Their terrible appearance should have been more exploited in my opinion.

One of the features of this film I like most, apparently was added after filming and editing. Carpenter didn’t find the story catchy enough and decided to add the initial scene. Kids gathering around a bonfire close to midnight, and this old fisherman, Mr. Machen, telling about the story of a clipper vessel, crashing to the rocks, due a thick fog, and a deceiving light caused by fire, and warning the kids that if such fog returns, the men at the bottom of the sea, will accompany it to Antonio Bay.

This scary tale tone provided since the very beginning, introducing the audience to the events about to happen, is simply brilliant.

I’m wondering the loyalty and boundaries among Carpenter and the cast. Many actors participate in several of his titles. You see Nancy Loomis in Assault, Halloween and The Fog, for instance, or Tom Atkins and Adrienne Barbeau.

I really love Janet Leigh and her daughter, Jamie Lee Curtis, working together under Carpenter’s command. Two actresses, whose roles in horror, made them legend. Excellent!

Never seen the remake released in 2005 and don’t feel like watching it. A cast billing tv series gorgeous actors and actresses, I really don’t find much appeal.

The Fog might be more innocent than Carpenter’s previous work, dealing with the unnatural is not easy and as commented, possibilities seemed to be reduced due to low budget, still, it’s a funny horror movie, perfect for a cold dark Sunday, with the lights turned off.

It’s been sometime since I haven’t written any post. Several events and the fact that I’m revisiting The Sopranos at insane speed have made me feel a bit lazy. Hope it doesn’t take so long next time. I actually have a list for future updates which I don’t want to grow too much, now that I have memories and thoughts still fresh in my mind.

Let’s get started once again.

Despite all the Hollywood monopoly on film business, horror is not exclusive, in fact I’d dare to say, most their products delivered, focused on huge money profit, lack of the true essence of the genre, and scripts are often poor.

This powerful empire is the British Museum in movie business. As soon as they smell brand new success and potential in directors or writers, these immediately are abducted by the monster.

This is not a critic towards Hollywood, well it is in a way, but it’s like horror genre has eventually proved to be successful, followed by many devoted fans, thus, it has to be submitted to the mainstream chain.

Think about the classics, from Hammer films to Carpenter’s, Cronenberg’s, Romero’s early works. Their narrow budget films shocked the world and turned into icons and legends.

In my opinion, the case of Alexandre Aja is quite an example of what I mean. This cult movie discovered his potential, and immediately he was summoned to the American film empire, to get involved into, first, a remake of Wes Craven’s Hills Have Eyes, and then Mirrors, a good story, but weakening in the end, to finally work on another remake. Aaah! I think it’s a pity considering, in my opinion, of course, with Haute Tension, he delivered one of the best horror films in the past decade.

Once this said, and trying not to ruin your possible future viewing, let’s get focused.

First I got to remind you Haute Tension is a French film, and I’ve never seen it dubbed into a different language, thus make sure you get a copy with subtitles. Truth is, dialogue is not one of its most important features.

In order to stay away from any kind of distraction, Alex (Maïwenn Le Besco) invites Marie (Cécile de France) to spend the weekend at her parents’ countryside cottage, so they can relax and study hard without being bothered. As you can imagine the house is in the middle of nowhere, and you depend on a car to move to the nearest town.

They arrive quite late, and Alex barely talks to her parents and her little brother. The girls are exhausted after partying the night before, thus Alex shows Marie her room upstairs, give her few tips for making herself comfortable, and goes to sleep.

Laid on the bed and listening to music, somehow Marie notices a threatening visit of a stranger. Alerted, she starts peeping realizing something wrong is going on.

A man dressed in greasy overalls and face hidden by a cap, gets in the house brutally killing Alex father, to continue stabbing the mother with a shaving knife. It’s apparent to Marie, he wants to rape Alex and take her with him against his will, so she will try to save her best friend by all means.

The relationship among the two friends is a bit peculiar. Feedback is not much provided. They seem to be friends from college, but not for long time. Marie has never met Alex’ family before, however there’s a picture of them together in the house.

Despite the standard and even innocent appearance of Alex, according to some conversation, her sexual life is quite active, and she’s inclined towards engaged guys, a fact that pisses Marie off quite much. On the other hand, her friend is not interested in men at all, and the sex issue is a topic of discussion she doesn’t feel much comfortable with.

There’s no further explanation of such matter, she’s in love with Alex. It’s like this teenage thing, when you like someone but is out of reach, in order to get closer you become friends, so hopefully sooner or later that person will realize how wonderful you are and eventually, will have a crush… Not only Marie’s condition is evident due to her protective and jealous attitude towards her friend, but also her physical appearance implies something.

What would you do if you were staying as a guest in a house that is suddenly assaulted, you’re placed in the most isolated room in the house, and initially nobody but the inhabitants knows you’re there? Let’s not pretend to be heroes here. If you weren’t putting yourself at risk of course you’d try to help, but if that wasn’t the case, and you could get away, believe me, you would run as fuck and hide wherever.

Marie’s cold movements are simply amazing, and for some time you think of her as a heroine with all the typical features: she’s strong and well built, she’s smart, quick, silent, brave and almost a professional in improvising. Too perfect!

She passes one obstacle after another successfully, but all the same the viewer starts developing an uneasy feeling of something that doesn’t fit in the puzzle. This is the greatness of this movie, you know there’s something rotten behind the scenes, but it will take you 80 minutes to discover what really is (I’m not going to tell you).

Just want to mention a moment that , let’s say, alerted and caused me starting to question what I was watching. You know in dynamic films, like these epic sagas such as Star Wars, Lord of the Rings… the weird ability of characters to overcome tragedy in just few seconds. Let me put you an example. When Obi Wan allows Vader to defeat him just for the sake of the rebels (Leia, Han and Luke), the Jedi apprentice is morally down and depressed for just 30 seconds, until they have to defend themselves from the attack of the Empire when escaping from the Death Star on board of the Millenium Falcon. You might think I’m crazy, but there’s a scene in Haute Tension,  when Marie releases Alex from the chains, inside the van, she’s so joyful as if this was the end of an adventure, as if ignoring her friend’s family were brutally massacred, and she had been raped and humiliated for many hours, captive by a psycho. It’s like, how can you be so happy and not concerned about what has been happening that night?

If you seek for blood, violence and brutal scenes this is your movie. I’ve seen it many times and still feel the knot in my stomach, and feel uneasy.

This is one of these movies, first time you see it is no doubt the best, still, reviewing it from time to time is very enjoyable. As commented earlier, it’s last decade personal favorite in the genre. If you are a horror lover, this is a MUST.

Right, let me tell you how I started attending San Sebastian Film Festival. It’ll be short, I promise. For me it started four years ago, two years after my family. My younger sister, Paula, started thanks to some friends of hers and then she sort of passed it on to us!

During the year, the organisation sends updates on movies taking part in the festival, new sections, awards, people attending, retrospectives, etc. Two weeks before the opening, the film schedule is published online so you can plan your own programme. It’s like juggling three or more balls: films, venues, hours. You don’t want your films to overlap, the venues to be far away from each other or to have so many films listed that you won’t have a moment to go to the loo, eat something or have a cigarette! Now comes the tricky part. The Sunday previous to the opening day tickets come out for online shopping and this is the jungle, every man for himself! I’ve been quite lucky and have managed to get tickets for the screenings I wanted. However, sometimes you have a change a complete day in order to watch that one film you’ve been longing to watch because it turns out the director/actor/writer is coming and, of course, you just have to see them!

Once you have purchased all your tickets you have to get to the city. As for accommodation (in our case a rented apartment), hotels, hostels and such types need to be booked very early, sometimes, two months in advance. So, get yourself to the beautiful San Sebastian and head to the Kursaal, one of the main venues of the festival and one of the most impressive sights of the city. Find a machine, swipe your card(s) and there you have all your tickets! Now, something you should know is that the organisation keeps a 15-20% of the tickets to be sold on the day of the screening. So, this is another chance to catch some film you forgot, some other someone told you is great or the sleeper of the festival.

The festival is totally integrated in the city. Everybody, and I mean everybody, lives it. Shops, bars, restaurants, people. Decorations in shop windows, exhibitions in museums, events in shops and such. Many people come to the city for the festival, but no only from the film industry; journalists, bloggers, cinema students, film fans, curious people, tourists. The atmosphere engulfs you and drifts you away from everything else. For example, when I am there for the festival the only newspaper I tend to read is the festival newspaper (free and available everyday in shops, festival venues, cinemas and some bars), written in Basque, Spanish and English. I forget there is a completely different world outside the city limits and I just go to the cinema, go for walks, pintxos, ice creams and sweet things and start all over again. I always discover new actors, directors, places, stories and people, above all people. It is frequent to see Hollywood stars buying fruit or having pintxos in the old part of the city or getting to the hotel by limo or sometimes even their own motorbike!!People wait for the film stars outside their hotels or the cinemas but once that is over, fans don’t crowd their idols and they can go out for walks and enjoy the city.

For me it is a wonderful experience every year, moving, enriching, exciting and sometimes, pricey but something I wouldn’t like to miss for the world.

Et maintenant on va oú? (Where do we go now?) directed by Lebanese film director Nadine Labaki, tells the story of a village where Lebanese Muslims and Christians live in community. This coexistence sometimes is peaceful and other times is not. We never know the name of this village that is connected to the world by means of a quite rudimentary bridge and where land mines were once planted but have not been removed. They do not even have a TV signal until some of the young villagers manage to set up a TV set for the whole town to watch at night. The people of the village are also religiously separated, the church and the mosque are separated by just one house. And, whereas they live happily most of the time, the men of the village tend to argue and sometimes get to the point of fighting. When these violent episodes start to take place, the women of the village decide it is time for them to act. Thus, they come up with plans and schemes so the men forget about violence and differences in religion. These schemes come to show the unwavering commitment of these women to protect their community from violence and religious war. The director, Nadine Labaki, is also the main character of the film and through whose eyes we see the action developing. She is alluring and, for me, a captivating presence on the screen. The music, composed by Nadine’s husband, is gorgeous and memorable. It has the capacity of turning beautiful moments into unforgettable ones. This is Labaki’s second film as a director. Caramel (2007) also took part in San Sebastian Film Festival and won three awards on that occasion.

Take This Waltz directed by Sarah Polley is the story of Margot (a sweet Michelle Williams) who is married to Lou (a fantastic Seth Rogen), a cookbook writer. They have a comfortable marriage when suddenly Margot meets Daniel (Luke Kirby), a neighbour from across the street, and sparks fly. She is looking for some affection from this guy as well as some kind of excitement in her everyday life. The chemistry between them is revealed through some racy scenes and other tender moments. So, she is torn between her loving and nerdish husband and the sexy neighbour that excites her and shows her a peek of the unknown. I found Margot and Lou quite believable but Daniel lacked some emotion sometimes. Michelle Williams gives a wonderful performance of a woman who does not know what she wants and does not want to hurt people in the process of getting it. She shows very well a reluctance to fall in love with Daniel; it does not matter what she does or thinks, eventually she falls in love with him. I think the film portrays very well the lack determination and decisiveness in Margot and how what she does affects everybody around her and not only her husband, even though that was not what she wanted.

 Shame (Steve McQueen). Right, the word shame can have different meanings. For example, it could be disgrace or embarrassment, displeasure or even sorrow and regret. Taking all of these meanings into account, when one finishes watching Shame, they could choose their own meaning of the word. The film shows the life of Brandon (Michael Fassbender), a thirty something-year-old man living in New York. He has difficulty managing his sex life; he likes sex, he likes dirty sex, he even pays for it. Out of the blue, his sister Sissy (Carey Mulligan) moves into his apartment and into his life. Their relationship does not seem very brotherly, him being distant and cold and Sissy carefree and sometimes careless. Brandon’s life gets out of control in both personal and professional aspects. From my point of view, I think there is something hidden, unknown for the audience in the relationship between Brandon and Sissy; something that greatly affects Brandon and makes him behave the way he does. I have to admit that my opinion is quite divided. On the one hand, the story, although sombre and saddening, does not help me find out why the title of shame. Is it disgrace, displeasure or regret? Maybe all of them at the same time? Perhaps I have to choose as I suggested? I don’t know. On the other hand, Michael Fassbender gives a poignant, intense performance, sometimes perturbing. His eyes and the way he looks at people are distressing at times. He manages to go from sexy, interesting, professional and caring to bitter, troubled, miserable and remorseful. His performance here is awesome, it literally left me in awe, speechless.

Neil Young Journeys (Jonathan Demme) follows Neil Young in May early this year while touring in Toronto’s Massey Hall. Just like that Demme completes a documentary trilogy that started in 2006 with Neil Young: Heart of Gold and later in 2009 followed Neil Young Trunk Show. Young played two nights in this iconic venue and Demme captured these moments. He combines songs from the concert and excerpts from a sort of a road trip with Neil Young in a gorgeous 1956 Ford Crown Victoria through the rural town of Omemee, where the singer and composer spent some of his younger years. We can hear Neil telling anecdotes about people in the village, about his childhood, reminiscing about the past. The songs in the film belong to the album “Le Noise” but we could also hear some classics like “Ohio” and “I Believe in You”. On stage there was an acoustic and an electric guitar along with a keyboard. It was a great way of spending an afternoon and of starting to know Neil Young. When you see Neil driving that beauty and just telling stories, you feel like you have always known him somehow. He looks like an honest guy, someone you would like to have a drink with, someone who has lived a lot.

Albert Nobbs (Rodrigo García). Glenn Close plays this butler in 19th century Ireland who works in one of the best hotels of Dublin. One day, Albert meets Hubert Page (fantastic Janet McTeer), a painter temporarily working at the hotel who shows her there is a way of escaping the lie she has been living. Albert Nobbs is actually a woman disguised for years as a man. She walks like a man, talks like a man and dresses like one too. The hotel hosts different people and different stories take place there. For me, Albert’s story is a story of self-discovery and loving yourself. There are many other stories in this film, the most important of them being the one with one of the maids of the hotel and the handyman (played by Mia Wasikowska and Aaron Johnson). It reminded me of those old English films with many stories to be told, shot in a charming and cosy place. It was sweet, tender and funny at moments, warm and suddenly sad.

It’s an honor for me to introduce you to the first contributor for Popcorn and Movies, and very close friend of mine since the high school years, Arantza.

The most important interest in common we share is our passion for films since were really young. Truth is that our tastes are far from each other, although I reckon her contributions will enrich and improve the contents of this blog for sure. Really I can’t think of anyone more appropriate to participate and giver her input nowadays.

Her debut starts triumphant, telling us about her experience during the famous San Sebastian  film festival, Donostia Zinemaldia, held two  weeks ago.

Again, I really feel very proud Arantza has accepted joining me in this personal way of supporting this beloved art.

Filed under: Uncategorized ]]> http://toirock.wordpress.com/2011/10/07/a-warm-welcome/feed/ 0 0.000000 0.000000 0.000000 0.000000 toirock http://toirock.wordpress.com/2011/09/10/taxi-driver-martin-scorsese-1976/ http://toirock.wordpress.com/2011/09/10/taxi-driver-martin-scorsese-1976/#comments Sat, 10 Sep 2011 15:34:11 +0000 Toi Brownstone http://toirock.wordpress.com/?p=686 ]]>

Whenever you refer to Taxi Driver, immediately everybody remembers the famous quote “Are you talkin’ to me?” and Bickle’s mohawk. Just for this reason, many people find this film overrated. Personally I think they’re wrong, with all due respect, Taxi Driver goes beyond that.

Scorsese depicts a decadent and hypocrite society, streets full of scum, drugs and prostitution, through the eyes of Travis Bickle (Robert De Niro), an ex-Marine with issues.

Tough times for New York City, affected by alarming levels of criminality, violence, drugs and prostitution.

Travis Bickle (Robert De Niro), a Vietnam veteran with personal  issues and insomnia disorder, applies for a job  as a cab driver on night shifts.  He has no life at all and no attachments, the only two constant activities on a regular basis are writing a diary, in which he expresses his discontent about human mankind and the dirty society he has to coexist with, and watching porn movies at dirty cinemas. Bickle is a loner, and the only contact with reality is what he sees while driving the cab: all kind of customers, and postcards from the city.

All of a sudden his eyes find Betsy (Cybill Shepherd), a beautiful young woman actively working for the politician Palantine’s campaign for presidency. To Bickle she is a symbol of a new hope, pure and beautiful, which can save America… and him. Thus, in order to get acquainted with her, he decides to volunteer and collaborate for the success of the politician.

On the other hand, while working, he’s got a strange encounter with a teenage prostitute named Iris (Jodie Foster), and her pimp Sport (Harvey Keitel).

Things with Betsy don’t work fine for Travis, and her rejection will awake his sense of justice, feeling encouraged to straight things his own unorthodox way.

I don’t know how many times I’ve seen this movie, the truth is that I always discover something new, or better said, something previously unnoticed catches my attention. I really love when this happens.

There are several features, camera and techniques aside, which, in my opinion, contribute Taxi Driver to be a masterpiece: Travis Bickle, the characters and what each symbolizes, narration and dialogues, and the city itself.

Let’s get started.

Bickle’s past life is unknown. Only few details for the record are mentioned when applying for the job at the company, he used to be a former Marine and served in Nam, hadn’t received much education, and apparently he’s no relatives or close people.

He’s a real Steppenwolf, the only contact with reality is through the taxi, and considering he works night shifts in trouble hoods, what he sees is basically crap: prostitutes, pimps, junkies…

Well, up to this point Travis might seem just another freak but, he’s right in many things he writes on his diary, and we all reckon is normal to wish a better environment and atmosphere.

Betsy is his opportunity to fit in a society he finds helpless. Her beauty is taken for innocence and purity at Travis’ eyes, and she means hope. She’s a spark in the middle of mud, and Travis has such a crush on her, he manages to defy his inner demons in order to approach her.

Let me tell you, the moment Travis introduces himself to her, the way he talks, the strength his words transmit , and the guts he shows describing her life and affirming that she’s not happy, is one of my favorite scenes in the film. We can just guess what the girl might think, but we’re never sure, the fact is that she accepts his invitation. When Travis is with Betsy, he seems sure of himself, charming, everything he says makes sense but…at some point, his sick side has to appear, and he fucks it up when taking her to a porn cinema on their first serious date. What can you expect? Travis’ detachment from society prevents him from knowing what a woman should be given at that time.

Her immediate rejection means hope is gone, she’s like anyone else, therefore the world is doomed to fail unless he does something actively. And of course, Palantine’s statements mean nothing now.

Thus, Bickle enters into a downward spiral, his obsession for cleaning the streets becomes his main target, and staying focused on his purpose, he starts training, buys arms, invents devices for improving results, and thinks of himself as in an undercover agent on a mission. He’s not fantasizing anymore, this time is for real, and he’s determined to do something.

“Here is a man who would not take it anymore. A man who stood up against the

scum, the cunts, the dogs, the filth, the shit. Here is a man who stood up. Here is.”

 And not only that, he also wants to take Iris back to her family, so she can live a normal life, something he’s not even doing. It’s very contradictory, he’s not in touch with his parents, and has not a proper life, but Iris MUST have this chance, and get back to the right track. He’d sacrifice for her happiness, and will become his savior, and for that, he will have to defeat Sport, the pimp, the incarnation of the evil and the corrupted human being.

Thus, once all this said, who we have here? Travis is a vigilante, insane enough as to pull the trigger. Most of people have the very same ideas, especially when surrounded by a suffocating and unbearable society all you can see is wrong. Sometimes you think, yeah, I’d take a gun and retire so many assholes in this world…well similar kind of talk. I’m not saying this is the right solution, I do not consider myself an avenging nor violent person at all. But in Taxi Driver we are standing in front of an insane and filthy NYC, American society was deeply wounded because of many mistakes and tragedies, you name it, the dark shadow of Vietnam was present for too long, many issues difficult to take care of and overcome. You see that everyday and you get sick of it.

Taxi Driver is just a statement of discontent, a portrait of the decay and decadence of America, and the willing to put an end to that, taking a mentally disordered guy, probably a psychopath, as the narrator of such situation, playing with duality, in the sense that, you can agree on what he does, despite his way, and at the same time you can justify his actions by admitting he was insane.

Taking a look at the script, an experience I fully recommend, and of course, focusing on narration and dialogues, you realize this film is one of this kind. Continuing on my affirmation of this film being a statement and a critic against the current social situation in that time, this film has a sentence-to-be-framed (and quoted) every 30 seconds. So meaningful, and so real, I discovered myself shocked. Those off-voice scenes with the car moving though streets and junctions those jazzy tunes are so evoking…

I’m currently living downtown in Barcelona. It’s weird so filthy this city is. Right behind emblematic places you find the worst of the city, just as in Taxi Driver, pimps, whores, junkies, people dealing, tons of thieves and a sense of danger mostly noticeable at nights. Somehow I understand Travis’ need everything should be clean and although I find this city very attractive, I’m realizing is turning into something I don’t really like. How can this be stopped and redirected to normal? This is the government and local authorities responsibility, but at the end of the day you conclude nothing is being done. Frustration is the feeling.

With Taxi Driver, Scorsese concludes his portrait of his beloved New York, turned into a nest of crap, delivering an icon, Travis Bickle, a dangerous nutter who is wisest than many, and who is aware and affected by the way everything is tending to become. It’s up to you to think whether he’s a hero, or just a psycho, what it’s true is that he will never let you indifferent.

It’s been 35 years since Taxi Driver shocked the world, and still its message is valid.

Summer sales are the best, and I’m not talking about clothes, considering this is a blog about movies. I’ve bought more than 10 movies in the past month which, of course, I will review here.

First film I decided to watch was True Romance, for two main inspiring facts: a public TV channel was broadcasting Jackie Brown, a film I love and already commented here, and second, because I just started the very same day to review The Sopranos, my favorite TV series of all times. Thus, mafia on one hand, and Tarantino’s genius helped in my choice.

I hadn’t seen this movie in ages and reckon I got more fascinated than in previous occasions, probably because I paid more attention on the dialogues, characters and the amazing crew of actors working on this bloody and violent American dream story.

Clarence (Christian Slater) is a comic book guy in Detroit. Continuing his self-imposed tradition, he spends his birthday enjoying a Sonny Chiba triple feature at a theatre on his own. A hot chick named Alabama (Patricia Arquette), for no apparent reason, joins him in the session, and will accept to go for a coffee with him afterwards. The rest you can figure out, they go to his apartment and have a good night. However, Alabama will confess the encounter wasn’t by chance. She’s a call girl, and she’s the birthday present for Clarence from his friends. It was too much coincidence.

What she can’t control is the instant crush on him, Alabama is completely in love with Clarence, and it’s the same the other way round. Thus, they get married immediately.

Everything happens so quick, Alabama’s stuff is at her pimp’s joint. Clarence decides to pay a visit to Drexl Spivey (Gary Oldman), following Elvis Presley’s advise, tell him Alabama’s non of his business anymore, grab her stuff, and probably kill him. He accomplishes his mission, but there’s something out of frame: the suitcase he takes is not his wife’s, and it’s full of cocaine.

Rid of Drexl, Clarence and Alabama need to take care of the suitcase. Sell the blow, take the money and be happy ever after. But as you can imagine, things are not so easy, drug dealing involves many sides, and this one remaining, led by a cold mafia guy name Vincenzo Coccotti (Christopher Walken), won’t put things easy.

Thus the married couple heads to LA, thinking is the perfect place for selling the dope at good profit, considering the film industry scene as the potential customer, plus Clarence’s friend, Dick (Michael Rappaport), an actor looking for his opportunity in the bizz, who apparently has the right contacts. As their brilliant future seems closer, things get more and more complicated though.

This is a movie that, if you don’t know Tarantino wrote the script, but you’re fond of his work, you quickly know his trademark is present. It’s weird he didn’t direct it, considering the noise spread thanks to Reservoir Dogs, but as far as I’ve read through the net, he just sold the script and forgot about the issue quite much.

True Romance is excessive, in all senses, love is crazy, violence is brutal, and situations are impossible…very very Tarantino’s.

The way everything happens, or better said, the speed at the events occur, reminds me a bit of the comics.  Everything related to feelings specially, is quite summarized. Can you imagine people falling mad in love overnight? I consider myself a romantic person, serious, but no, I can’t imagine myself so in love all of a sudden.

Truth is Alabama and Clarence are not an average couple. The comic store guy gets such a pretty girl he’d never dream of, but she comes with the package, and he needs the strength and guts, to preserve his reward. All his bravery will bring out encouraged by his personal angel, Elvis (Val Kilmer) in his golden suit. Suddenly, Clarence the loner and loser, becomes a tough guy, willing to do whatever to defend and put their love at safe.

What about Alabama? She’s like a kind of late 80’s Marilyn, the hot blonde. It’s kinda fun, her sister Rosanna’s  film with Madonna, Desperately Seeking Susan, comes always to my mind, when referring to True Romance. The appearance, the clothes and accessories, this funny and careless attitude, turn Alabama into an icon.

I really love the way characters are added to the plot, turning the plot into a complex net. The pimp, Clarence’s father and Coccotti, Dick and Elliot, the cops… the rhythm is shaking, all the characters are, how to say, relevant, rich and interesting, and several of them, thanks to the actors playing them and the dialogues, are super charismatic and unique: Gary Oldman as the white pimp pretending to be black; Walken as the perfect mobster, firm, polite and cold, but eventually losing patience; Hopper, the loving drunken father who is a loser living in a trailer, who’s got nothing else to lose… these are examples of what I mean. Characters are carefully developed, all of them having their moments.

I’ve already mentioned dialogues. Tarantino is a master, I’ve written this already on this blog. I’m a diehard fan of them. The ability of creating an increasing and extreme tension at certain points, to finally explode, is awesome. Constant references to classic films really show how passionate he is about everything. I love that.

True Romance is a rough story of love, and a search for the American dream,  peppered with violence and action…perfect combination for any given Sunday evening. What else can you ask for?

Can’t believe I haven’t talked about  this movie here yet, this is unacceptable! I’ve seen this film at least 4 times and reckon it’s one of my favorite ones of the past decade. Let’s put some remedy to such mistake.

Back in 2005, with A History of Violence, David Cronenberg started the so called Trilogy of Violence, which is still unfinished, and don’t think with the upcoming A Dangerous Method, comes to an end either.

Anyway, Eastern Promises is no doubt another example of violence, but this time from a perspective of the Russian mob in London nowadays, settled for at least 10-12 years and becoming powerful and very dangerous.

The starting point of the story is the death of a young Jane Doe, named Tatiana, at a maternity ward, by giving birth to her baby girl, in unfortunate and extreme circumstances.

The midwife who last assisted her, Anna (Naomi Watts), finds a diary written in Russian in her hand bag, and is determined to find any relatives so the newborn will escape from the bureaucratic adoption procedures.

Despite her Russian  roots, she can’t read the diary, plus her uncle Stepan does not agree to nose at dead people personal values. By chance, she finds a card from a restaurant named Trans-Siberian, so she decides to pay a visit, hoping someone can give her some information about the teenager or at least, get some help to translate the diary.

Once there, she will meet the friendly owner of the place, Semyon (Armin Mueller-Stahl), who suggests her to come back the following day, so he can help her.  However, behind the amiable mask of a tender old man, the head of one of the most dangerous Russian mafia families, Vory V Zakone.

Problems will start the moment she hands him a copy of the diary, in which both Semyon and his careless and shallow son, Kirill (Vincent Cassel) are named and accused of very terrible things. This little spot in his business is something to be vanished easily, but what nobody takes into account is the driver, Nikolai (Viggo Mortensen), very close to Kirill, and acquainted with everything happening, and another two-face character.

Last time I watched Eastern Promises was 4 days ago, with my best friend. First thing she told me was that she hadn’t seen it before for being too sensitive to violent scenes, getting especially anxious when raping involved. Didn’t think much when I reckoned it wasn’t so violent, remembering only the scene at the public sauna. Don’t want to spoil anything, but let me tell you THAT is one of the best moments I’ve ever seen in a movie, if you’ve never seen this movie before, remember these two main adjectives: hard and raw.

Anyway, first scene and I was thinking “Oh My God! This is going to be a mistake I’ll remember for years”. Fortunately, I’ve been training my friend somehow, and she enjoyed the film a lot.

I could praise this film nonstop, there are many aspects to be highlighted I don’t know which one to start with.

There are two main plots which at some point they both meet, but not completely. And which one is more relevant? On one hand the story of Tatiana and her daughter Christina, christened by Anna, the nurse. It works as the perfect introduction to the underworld, but also something as apparently innocent as a diary brings out lots of trouble to Semyon. On the other hand, the affair of Soyka’s murder at Azim’s barbershop, an impulsive command by Kirill which also will cause lots of disturbance. The typical catchy sentence to attract the audience, in this case, is more than appropriate and quite meaningful:  Every sin leaves a mark. well, basically Eastern Promises, depicted in this Russian mafia frame, is all about that. Everything you do, will have consequences, no matter whether your acts involve low or high profile people.

I enjoy lots with the way  the story develops, the different plots getting closer and closer, thus the more you see, the more you understand. Characters are evolving according to the circumstances, and who you think was the nice guy, turns to be a real son o a bitch, and the other way round.

Russian mafia is definitely one of the strongest points in the story. We’ve seen Italian mafia hundreds of times, Irish gangs, ghetto boys, Chinese mob…we know how they deal with their affairs. However, we are quite ignorant  regarding Eastern dirty business and the way they handle and behave, traditions, code messages and whatever stuff you can think of.

Interesting the fact that this family is settled in London. I used to live the 12 years ago and noticed a massive wave of Russian and Polish immigrants. In certain neighborhoods, there were groups of guys dealing and arguing in street corners, with young nice chicks by their side…Here the legal business is the restaurant, but then you find brothels with prostitutes confined, hooked on heroin, pursuing the western dream of getting away from poverty for a better living. Tatiana was one of these girls, her innocence corrupted and her life ruined.

Tattoo code really fascinates me, probably because this traditional feature has almost disappeared. Tattoos not only meant choosing an unorthodox way of life, but also marked the belonging to a dark and exclusive elite. And finally, in this case, beside every inking having a meaning, certain ones were kind of awards, as in the Army, recognition and rising levels.

Along his filmography, Cronenberg has hired services of relevant actors for his purposes: Jeff Goldblum, Christopher Walken, Ralph Fiennes, James Woods, Marilyn Chambers and Jennifer Jason Leigh, among others. Truth is that before A History of Violence, I find remarkable the partnership between the director and Jeremy Irons, which delivered two of the least popular of his films, yet to be included among the list of most twisted minded and insane of his works: Dead Ringers and M Butterfly.  I love both, especially the story of the Mantle twins, I had already talked about long time ago on this blog.

With the concept of the trilogy of the violence, seems that the story repeats, with the Canadian and Mortensen creating a strong comradeship. A History of Violence was the starting point, sharing features in common with Eastern Promises. They both show us men, with lives which differ  enormously  from what they really are, and consequently carrying a heavy burdens.

If Mortensen’s act in the first one was outstanding, I reckon as Nikolai he’s over the top. He’s not just the driver, but also the undertaker, the nurse of Kirill, the Russian Mr. Wolf always ready to put things back in their place. From the very beginning my friend  was wondering whether he was good or evil. I think he settles right in the middle. As you’re discovering what he’s into, in order to do good, his methods are wrong.

Rumors say that Cronenberg is planning to work on a sequel. If this is true I feel really curious, it can be a waste of time or a master piece. The end of the film leaves one door open everyone wants to peep through. That could be a good opportunity to discover how the aftermath would be. I’d love it. We’ll have to wait and see.

Once again, Cronenberg does not disappoint. People criticize him for moving away from the body horror he mainly created, and turning more mainstream. I disagree. Nowadays the director focuses more on tough stories, with some kind of lesson behind, and perhaps, rather than insisting on the reality-delusion duality, he’s more into parallel lives, with an apparent front, and a dark side underneath, which eventually comes up to surface. And nevermind what others say, he keeps on with his taste for blood.

Misunderstood and underestimated, in my humble opinion he’s one of the most talented directors, always delivering interesting and different proposals, audience should pay more attention to. Seriously, it’s never too late to discover his work, I encourage you from here.