Outraged at the cinema: 20 films that reflect the 15-M movement

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Wednesday, 15 May 2013 11:01

It marks the second anniversary of the movement popularly known as 15-M, under which originally coalesce different platforms like Youth Without Future, will not vote or Democracia Real Ya, authors of the Manifesto of the party and union movement 15M, also known as the movement of the outraged, referring to testing Outrage!, small work of French writer and diplomat Stéphane Hessel, who died a little over two months to 95 years old. This is not no place to analyze the validity of the movement and its influence on society, but what I can suggest is a review of contemporary cinema with higher levels of anger, reviewing those films that, for one reason or another, claim somehow the same premises as the 15-M.

Outraged at the movies

The origin of the Great Recession

Outraged at the cinema 01

Regardless of which have outraged many claims, the truth is that, somehow, we can say that it all began with the economic crisis that some refer to as the Great Recession, I guess to differentiate it from the Great Depression of 27. Funny how this new crisis began back in the United States in 2008, and it acquired global proportions. Two films like Inside Job and Margin Call directly address the origin of the crisis, the first documentary and perfectly explanatory key, the second key form of fiction in demonstrative. But perhaps more surprising me prior documentary, Let's make money , who gathered in an objective views on the legality of speculation and the dangers of neoliberalism.

The consequences of the crisis

Outraged at the cinema 02

Sure you all know someone who claims that if you had asked we would have said that we are coming. Many may say, but a filmmaker Costa-Gavras as can also demonstrated that three years before the crisis erupted spoke of the dangers of employability in Le couperet. An extraordinary film that is complemented perfectly with Le capital. In the middle we find titles such as Up in the Air or The Company men , showing the terrible consequences of the recession with rising unemployment.

Reflecting outrage

Outraged at the cinema 03

The cinema entertainment need not be at odds with today. in fact, it is much more credible and reassuring when it reflects what is happening in the world. And that is what, to a greater or lesser extent as titles showed range in which the real estate speculation was what generated the behavior of the inhabitants of a village that could have been in the province of Murcia, or Safe house , which besides showing the indignant movement in South Africa, denounced the way in which governments conceal the truth for their own benefit, not on the people, something that also happened in White Elephant . Surely many surprise him my thoughts on The Dark Knight Rises , in which I postulated more for Bane, which stood as a perfect alter ego in a world outraged that the police were manipulated by politics. Perhaps the speech was finally muddied by the need (or option) to Christopher Nolan for pandering to the needs of the system, so it seems to me much stronger French film Une vie mellieure , which is shown in a perfectly human and actual consequences of the crisis in which not caused, but inevitably suffer.

Rebellions metaphorical

Outraged at the cinema 05

I have always been fascinated by the movie directing his argument by a course very specific, actually speaks of nothing but the showing. Perhaps the example of Cosmopolis is more of a parable than a metaphor , but also fine after part of a premise as simple as a haircut. Tremendously advance is the outrage of the Danish people, already at the time of the Enlightenment put things in place, just cho shown in A royal affair . Although the film surprised me and captivated me in this regard was undoubtedly softley Killing them , which behind the behavior of some gangsters could sense the bankers and politicians, as well as the clear allusions to deception in which society lives when exercising their right to vote.

Outraged from the heart

Outraged at the cinema 06

When we can almost say that Spain was the first country in Europe outraged Spanish cinema, which is always so vindictive against politicians, was slow to react and reflect what was a public outcry. The English movement called Occupy, was reflected in're not broke, while Tony Gatlif reflections collected directly Stéphane Hessel on Occupy, which opens this week in Spain. Shame I feel that Pedro Almodovar, which is always the first ready to take the microphone in a cause he considers it deserves, not only take to react, but peteneras out a key comic allegory as passengers lovers , whose grace no came to see or the British. Thankfully Isabel Coixet came and said what I had to say no ending neck Yesterday , a film so simple and forceful, as sensitive and emotional. Without knowing what will Isaki Lacuesta died for us beyond their means, a great veteran like Basilio Martín Patino demarcated before them with a documentary as honest and brave as 15-M Free love you . Perhaps the least politicized document, for better or worse, perhaps the most objective view of 15-M.

The entrance Indignados in Film: 20 films that reflect the 15-M movement appears first in Extracine .


The Lords of Salem: propose a spell to ward off Rob Zombie film

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Wednesday, 15 May 2013 02:10

There are scripts as if they were written by adolescents 12 or 14 years, might have an interest. More than anything for the possibility that before a promising story, the author may mature and eventually become a filmmaker quality. There is, of course, the case of Rob Zombie, who do not know the rest of his films (which I do not want to discover), because with The Lords of Salem only able to articulate the prodigious truño of a filmmaker determined to prove that it is so outdated and expired as clothing that looks the star of his film, which seems straight out of the remains of closet costume designer of The Doors (or the closet of the mother of the protagonist).

Poster for the criticism of The Lords of Salem

Trying to explain what Rob Zombie intended with his film, would be like asking a teenager how to choose between different urban tribes that live. Of course, the director of the film is far from being a teenager. Basically, it seems to me that your purpose (to bet) would be to run as a creator of music for bands and artists such as Nine Inch Nails, Marilyn Manson and David Bowie, other than for himself. While his story is unbearably awkward, hopelessly obvious and entirely predictable, its ability to create interesting images continues to draw attention. That itself is a beauty devoid of force, without any stimulation, because their satanic delusions come not to shock or die-hard conservatives.

Boredom, sleepiness and boredom are, ultimately, the hallmarks of a proposal as stale as its protagonist Rastafarian hair. The only thing that gets my attention, apart from the visual allusions to George Méliès, the horror film in black and white sneaks everywhere or delusions of Andy Warhol's Factory in Flesh for Frankenstein, which is not sufficient for I feel identified artistically with its creator, is the piece of music that disturbs some of the women who listen. It is disappointing that fails to cause the same effect in the audience at the screening, it would have been much more fun than all desnudáramos us and we finished doing a coven front of a screen, rather than finish watching the movie.

Three witches wonderful in criticism of The Lords of Salem

The only incentive that could really have come to see The Lords of salem, apart from the intervention of Bruce Davison, absolutely delivered as always, is to recover actresses like Maria Conchita Alonso, who had not seen for a long time, and the rediscovery of "witches" as Judy Geeson, it became famous in the late sixties and early seventies after his participation in films like To Sir, with Love to 10 Rillington Place, Patricia Quinn, authentic muse from modernity to interpret Magenta in The Rocky Horror Picture Show, or the endearing Dee Wallace, I'm sure many still remember titles like The Howling and ET ​​the extra-terrestrial. And what I say about Meg Foster? What's not in doubt is that Rob Zombie has discretion to choose with grace and style to the members of its cast, shame that instead of torturing us with his delusions film has not been decided to create a casting agency.

1 star

The entrance The Lords of Salem: propose a spell to ward movie Rob Zombie first appears in Extracine .


"We organized our memory from the narratives of cinema"

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Tuesday, 14 May 2013 23:35

The Act of Killing is undoubtedly one of the most radical proposals that surely we can find in the current film scene. And is that a merger between reality and fiction stands as the only means to represent paradigmatic sample of human brutality: genocide. Because this fictional documentary aims to address one of the least known genocides s. XX, the case in Indonesia between 1965 and 1966, which were killed over 1 million people a communist affiliation, in the hands of a government that served as gangsters, from the private sphere, who executed the Most of the victims. A genocide that has been buried by neglect, and that the directors, Joshua Oppenheimer and Christine Cynn, intended to retrieve and render, but how to represent such brutality? Well the answer is unbeatable: the executors have taken that perpetrated the genocide and they staged killings methods used, so that fictionalize the murders in this as the only way to access its meaning. And, given the bizarre proposal involves The Act of Killing, needed more answers, in an interview with Christine Cynn, its co-director, at the Documenta Madrid 2013 , we have discovered some of the reasons that have led to his shooting and have guided its staging:

christine interview cynn

Dearest Executioners

One of the aspects that conmocionan of the film is the ease with which the executioners camera directly narrate the atrocities they committed, without shame or develop a sense of guilt, and even dare to stage murder methods which appealed in the genocide. And Christine Cynn interviews allowed us to discover it was not even necessary to convince them or pretend that the documentary was not critical of the genocide: "It was easy to contact the murderers and perpetrators of genocide. Had sex with multiple perpetrators, the protagonist was the 41st murderer I interviewed. But they do not have problems out in front of the camera: they are proud of what we have done them all. do not have to convince them, because they think their role has been essential to overthrow communism. "

But really, this movie is what these executioners were waiting. Because the perpetrators had been inspired by the film to build their own methods of killing, especially detective films, and therefore, this film could be a recreation of this ambiguity that lived during the genocide, fusing cinema and reality: "The murderers were attracted to the film and wanted to be in movies, and he wanted to speak to the camera as if it were in your favorite film genre. He really wanted to dramatize the murder, because he was in a movie. had to find costumes and makeup but he wanted integrated into the film and its aesthetics. People ask me, how did you get them? Are they really wanted to do, is what they most wanted to do.

Interview with Christine Cynn

Every film is a fiction

Christine Cynn did not want to make a documentary with archival footage, to function as a kind of archeology of the past. Because what she wants is to investigate the spaces is born evil intended submersion into the depths of evil. Therefore, no good historical research, as this is not agreed to the minds of his protagonists: it was necessary to resort to fiction. In the interview with Christine Cynn discovered a fundamental idea: "With this film was to document the imagination."

In addition, Christine Cynn knows that reality can not be captured in a documentary rough because the camera always involves construction. Therefore, you prefer to take the fiction as a method of access to reality and the past: "And there's always a fiction in the documentary, the fact that there is a camera rolling and acted like he was not, is actually a fiction, not true. Why not use the camera to catalyze a reality that is actually a performance: the camera picks up an idea, not raw reality ".

Interview with Christine Cynn

And all life is also a fiction

His film uses cinematic language when recreating the killings, as if asistiésemos to a torture scene in a thriller or detective films. But this is not to point out that the representation of violence lead to increased violence in reality: "The idea that violence begets film is too simple, not at any time intend to support it." His idea is more complex, as it is stating how fictionalized reality unconsciously, so we are unable to access the raw reality, and act through their image: "The division between what we consume and what we are not as strong, and that boundary is the identity. We see ourselves through the filter of film, television, as a frame. use the language of film to see ourselves. If we did one film about yourself, you know you would use the language of film fiction ".

In the background is the idea that Jean Baudrillard argued in Culture and simulation, which warned that the reality has been supplanted by the image reproducing means and, therefore, we no longer live but in a simulated reality, which has lost any connection to the source that spawned. Therefore, the executors resort to language of cinema to perpetrate massacres. And, from this simulation, reproduced in the cinema, where the real story has been supplanted by their representation in images and narrative conventions of film, we interpret our own life: "I do not support the simple idea that we are characters in our own existence. But normally ordered life according to the principles of film history, with the beginning, the end and the phases of the redemption, the anticlimax, etc. And even organize from memory film narratives, and The Act of Killing is a film about the price which is well conceive reality. And is that life has no beginning or end, and yet always extract the meaning from the end to look at life history, even when they are fictions ".

And this has a consequence on our conception of reality to fictionalize our world view, there are elements that are driven from their representation in the simulation, and one of them is the pain, which is banished. In sham no pain and therefore, implementers can use violence without guilt, they do not believe they are causing suffering to live in the real virtuality we have built in the s. XX. And is that a fictional conception of life is undoubtedly reducing reality, and The Act of Killing aims to bring the violence to the image: "But at the same time, is a film about what is not in the frame, about what is missing from this cinematic memory, since many images will not fit on this way of organizing the past. "

Interview with Christine Cynn

The impact of the film

And, if something certifies this film is that the film still has a major influence on society. In fact, its release reminds us that stage in the western film in which a film could fail to cinephilia shocked at what he represents in his images, something which no longer exists as often, thanks to freedom of expression and the abolition of censorship (either the Hayes Code, or censure Franco) has allowed the representation of any event on celluloid. But Indonesia has established a pact of forgetting on the subject and you can not talk openly about the genocide, so it could generate controversy in the country. In fact, the credits are made up of people who have not been able to fix his name because his life would be in danger, and we can only find the word "anonymous". For now, at least found its place among the rooms of the country: "I am a pessimist by nature, but the film is having a great echo in Indonesia. Has not been released in theaters, but in special passes, and every day they see more spectators, and even a film magazine has devoted a monograph to the film. This is surprising, because the army has great power over what is published. After hearing the terrible story of the most terrible worlds, I found hope in the international attention that is taking the film, it can create effects ".

Interview with Christine Cynn

And The Act of Killing at least should serve to stir the conscience of the people and force them to revisit the past, not only to those who lived, but also to new generations who for years have lived in historical amnesia "With The Act of Killing want to start a debate, especially for the younger generations, who never knew the genocide. Many young people are shocked to learn of the massacre throughout the film, and wonder: why did this happen and why nobody spoke of it, neither parents nor teachers?'s a very positive if the film generates these effects. "

The entry "We organized our memory from the narratives of cinema" appears first in Extracine .


Cannes 2013: Simple Guide for the official section (1)

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Tuesday, 14 May 2013 21:40

As each spring, with the first heat that predict the approach of summer, glamor invades the Boulevard de la Croisette and Cannes is decked out to welcome the world's top filmmakers. While, out of competition, The Great Gatsby is responsible for opening the festival, we make a brief review of the films competing in the official section of Cannes 2013, which will be the sixty-sixth edition of the leading film festival in the world .

Official Selection Cannes 2013

Le passé

After getting the Golden Bear in Berlin and the Oscar for best foreign language film Jodaeiye Nader az Simin ( Nader and Simin, a separation ), Iranian filmmaker Asghar Farhadi presents first film in the official selection at Cannes. A film shot in French with echoes of his previous acclaimed since after four years of separation, Ahmad arrives in Paris from Tehran, at the request of Marie, his French wife, to proceed with the formalities of divorce. During his short stay, Ahmad Check troubled relationship that Marie has with his daughter, Lucie. Ahmad's efforts to try to improve this relationship will expose a secret from the past. The cast of Le passe we meet with presences as stimulating as those of Bérénice Béjo and Tahar Rahim, star of The Artist the first and the second of A Prophet, both won prizes at Cannes.

Only lovers left alive

Poster Only lovers left alive

Old known Cannes Festival, three films directed by Jim Jarmusch, Broken Flowers, Mystery train and Stranger than paradise, and a short film, have been awarded previously in the Croisette. In his seventh film in competition has the presence of Tom Hiddleston, Tilda Swinton, Mia Wasikowska, John Hurt, Anton Yelchin, Jeffrey Wright and Slimane Dazi, which help you to create a story as cryptic as his later works, which turns here around a love story that has spread over several centuries, which could threaten the collapse of the modern world.


After presenting Bastards and Blood in Un Certain Regard, winning the FIPRESCI latter, the Spanish-born filmmaker based in Mexico, Amat Escalante, Heli presents competition. This is the story of Stella, a young girl of 12 years Mexican whose family is embroiled in a gear of violence when she falls for a policeman involved in drug trafficking.

The immigrant

Member of the Jury at Cannes in 2009, the U.S. director James Gray, doubly appears in Blood Ties Cannes out of competition and, for the fourth time in the official section, with The Immigrant. Starring Jeremy Renner, Marion Cotillard and Joaquin Phoenix, takes us back to the early twenties, when Ewa and her sister Magda leave Poland for the promised land. Arriving in New York, Magda is sick with tuberculosis, so it is under quarantine. Alone and helpless, Ewa, ready to accept any sacrifice, just entangled in prostitution. A beam of light opens the way to a better life in the company of Orlando, a magician, and his cousin Bruno, but they had reckoned without the latter's jealousy.

Marino Cotillard and Joaquin Phoenix on The immigrant

La vie d'Adele - Chapitre 1 & 2 (Blue is the warmest color)

Poster La vie d'Adele

Léa Seydoux and Adèle Exarchopoulos star in the first film in the official section directed by Abdellatif Kechiche, creator of award-winning films as L'dodge (Games of love and chance) or Couscous, this time adapting a graphic novel in which we see how the universe Julie is disrupted when he falls unexpectedly from a mysterious woman with blue hair. The possible that your friends and family give back, but she just finding herself. Come on, nothing to do with the British singer.

Jimmy P: Psychotherapy of a plains indian

Member of the jury for short films in 1998, Arnaud Desplechin returns for the eighth time at the Cannes Film Festival with a film starring Benicio del Toro and Mathieu Amalric. The film centers around Jimmy Picard, an Indian fighter blackfoot Geurra Second World, which is admitted to a military hospital in diseases of the brain. Dizziness, temporary blindness and hearing loss are some of the disorders suffered Jimmy, for which no physiological causes, which imposes a diagnosis of schizophrenia. Without thier, the hospital decided to seek a second opinion from a specialist in Native American cultures.

Michael Kohlhaas

Winner of the award for best actor last year for Jagten, Mads Mikkelsen returns to the Croisette with the fourth film by Arnaud des Pallières, which is his first in competition. A story that takes us back to the sixteenth century, when a prosperous merchant of horses has a happy and prosperous life, but that the victim of an injustice recruit an army to plunder the cities and restore their rights. The cast of the film we find names such stimulants as Bruno Ganz, Melusine Mayance, Denis Lavant, Roxane Duran, Paul Bartel and Spanish Sergi Lopez.


Member of the jury in 2011, is the second time that a film directed by Mahamt-Saleh Haroun compete in the official section of Cannes, earning above the Jury Prize for A Screaming homo (A scraming man). His new proposal focuses on the history of grigris a 25 year old who dreams of being a dancer, despite his paralyzed leg. If we add that because of his seriously ill uncle decides to work for gasoline dealers, we can picture the new territories facing.

Grigris in the official section of Cannes 2013

A château en Italie

If it had happened before would have thought that the French filmmaker Valeria Bruni Tedeschi pulled out of your surname, worse with her ​​sister, Carla Bruni, we can safely say that it is on its own merits in the official section of the festival. The first, as well, which is his third feature after September Il facie plus a Camel ... and Actresses, which itself was present at Cannes, but in Un Certain Regard, winning the Special Jury Prize. As usual, not only directs and participates in the script, but also stars in the story of a family of Italian industrial bourgeoisie that was just disintegrating while picking love how Louise and Nathan.

Inside Llewyn Davis

Ninth time that the brothers Joel and Ethan Coen compete in the official section of Cannes, participating in three other times in other sections. If you got the Palme d'Or with Barton Fink, have also taken the prize for best director three times by titles like The man who was not there, Fargo and again, Barton Fink. This is the Coens' first foray into the world of music through a drama set in the 60s about Llewyn Davis, an imaginary folk musician Bob Dylan-style. The cast appearances are integrated as different and interesting as Oscar Isaac, Carey Mulligan, Garrett Hedlund, F Murray Abraham, Justin Timberlake and John Goodman usual. All a bit eccentric right?

Admission Cannes 2013: Simple Guide for the official (1) appears first in Extracine .

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