The film is a feast of subtleties. What I wonder is
why I was bothered by the jumps to the present and the ending?
an aesthetic problem
If Hollywood's aesthetics is the archetypal mode of interacting, in what other ways can we live and make films? In what other ways can we relate to each other?
Why is "Mutual appreciation"
an important film?
Narrative doesn't push its characters to feel only one thing, that allows the actor to vibrate.
The double edge in
«Don’t look up»
If the intention was to broadcast a message about ecological emergency, was the polarization good guys-bad guys necessary?
"Return to Hogwarts" and the absence of darkness in the creative process
No one, at any point in those ten years working together, felt any minimal amount of contempt? Weren't there any discussions?
Fiction and judgement: life
is a lawyer's movie
Who could want Nicole Kidman to loose custody of her children in "Big little lies" second season?
«Fleabag»: to live or to tell,
intelligence and sensitivity
The very attempt to look smart, clever and funny is what reveals her as vulnerable, needy and broken.
«The father»: a narrative labyrinth
to get to mom
If the narrative tries to make us feel what he feels in his moments of confusion, the question is: does it make it happen?
«Stranger things» and the charming
denial of the shadow
Let's imagine what would happen if all characters were like Dustin and hugged the little monsters.
«Joker» y «Wild tales»:
narrative technologies for the
recycling of social pressure
La venganza es casi un género narrativo. Muchas narraciones se estructuran sobre esa búsqueda del equilibrio manifestada por la devolución del golpe.
Experiences (the aesthetic ones, the other ones) come to us packaged in what we call genres and sub-genres. The classifying label tells us what to expect, prepares us to laugh or to cry —or to laugh and cry.