to the stretch, yesterday two very different films together were presented in competition at the official section. Although in both cases the titles are in English, one of them Magical Girl , directed by Carlos Vermouth, set in Madrid. The other, Tigers , start a co-production between India, France and the UK but his story elapses between Pakistan, Germany and Canada and come led by an old acquaintance, DanisTanovic. As the film unfolds the higher dose Vermouth singularity few movies we view the official section of this edition, the author of the film No Man’s Land , is diluted in their strange desire to muster a complaint about the bad practices of multinational food with a hybrid that causes more astonishment that interest.
The teacher faced chard Carlos Vermouth evidence insolence narrative difficult to compare. His Magical Girl remembers the daring that Juanma Bajo Ulloa showed his first film, or delusional brash of Álex de la Iglesia their own beginnings. For 122 minutes, Magical Girl achieved, apparently effortlessly, something that other directors do not for a minute: constantly surprise the audience. Certainly it is very difficult to foresee where the story of this walk highly estimable and deeply iconoclastic, bizarre film. It seems that seeks to be perverse, but especially striking because it appears naively tender in its noblest sense.
synopsis of Magical Girl fails to provide any firm clue about its content. And it is not because it is not easy to summarize what this film full of twists, goldsmith pure plot that grows on a very obvious influence goes: Japanese culture and in particular the world of manga in his shed less accommodating.
The easiest way is to speak of a crossed belt stories, characters that binds and destroys chance of small success stories full of puzzles and mystery. A mystery that is but a puzzle with a missing piece, which emphasizes Vermouth literally to show one of his characters, who plays a splendid Jose Sacristan, remaking a puzzle, as the film ends leaving end loose.
The film delves into the fantastic without asking anyone’s permission, alien to the tradition of the Spanish film garbancero manners in which you have to explain everything and no one knows where the ellipsis. Not the case with Magical Girl A story about a girl with leukemia, an unemployed father who is unable to hear, a sad teacher and a complicated woman, who insists playing with death. States by a interlace and games of chance, the film takes its title borrowed from a Japanese anime series. But why a dress from that series, is the pretext, the text is to be found in a less innocent side, for example in Urasawa Monster or cinema Polanski, Kubrick and Borowczyk.
Among the many arguments Vermouth to taste with taste brings his second feature, there are some unforgettable. As the young actress who plays Alice, whose gaze reaches the rotundity of the old spirit of Ana Torrent. Or its staging: clean, geometric, disturbing. Or a script that links reality with delirium in a bouquet of unique beauty. Of course not everything is unequivocal in this film. Carlos Vermouth and suffers only partly managed to introduce the character of Sexton in the last third of the film. A film conceived as one of his characters says, with the ritual of a bullfight, three thirds. In your case, beginning with a fascinating and bewildering end.
The evils of multinational food The path appears as irregular as DanisTanóvic disconcerting. Bosnian born, raised in Sarajevo, was there in the lion’s den of the war in the Balkans, where it was forged as a director. With No Man’s Land (2001) opened the doors of half the world. Since then, there have been disappointments as Triage (2009), daring and direct a project of the late Kieslowski, L’Enfer (2005) and most recently in his films without certainly interesting, The woman junkyard (2013).
Tigers a counterfeit and erratic film, we turn to cross with the less interesting Tanovic. Under the pretext of recreating the odyssey of a young salesman of medical products in Pakistan, Nestlé sued by the lethal effects that caused his milk powder to be mixed by thousands of mothers with contaminated water, Tanovic chooses narratives interweave two different natures . On one hand, fictionalized recreation of the events; the other, also fictionalized recreation of the film we are supposedly seeing.
Two fictions for a film that is anything but convincing. At one point, one of the characters who are supposedly filming the movie, insists the riskiness of its submission, the immense value of this work. The more he says, generates more doubts about the true scope of this complaint without hitting films Tanovic infect the gravity of what your camera wants to expose.
Especially because Tanovic gives in to the temptation to record the aesthetic beauty of the landscape and peasantry of the Indian continent. Unlike Buñuel, filmmaker places the goal of serving pending that is imposed where the exotic places and actors seeking their good side, its most attractive pose, that same glamor of classic Hollywood cinema. With this, their apparent social claim is stained with the appearance of ads assertions combat and forget, for that matter, to give consistency to the real tiger that devours the health and lives of these poor people trying to protect.
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