The facts are always some, but the truth, as much as we hate to accept it, is inscrutable: the stories multiply, all the versions are not testable and appearances deceive us. This idea that delights and postmodern relativists is also the terrible conclusion that builds Loss, fantastic noir with journalist and writer Gillian Flynn hit the scene two years ago, and now brought to Movie David Fincher , probably the best equipped for the thriller current American filmmaker.
The followers of the work of Flynn I have something crude to be surprised by a plot that does not impact equally on second reading , but those who come without information enjoy the beautiful with a job that is better to have only its premise: a man is accused of the disappearance of his wife just as the fifth anniversary of their marriage fulfilled, and the case for different reasons and motives, meat becomes national news program.
With hardly deviate from the structure of book, the film weaves a plot where distrust is sensitive material to mold and where each of the characters has a view of the facts to offer, from the husband to the wife (great success of casting Ben Affleck pick but even more Rosamund Pike , perfect blonde heiress of hithcockianas freezing), not to mention family, lawyers and the media.
Motor and heart of the intrigue, that myriad shapes interpretations of what happened, as has been said, the core of the film, but also the mirror where Fincher and Flynn, who also participated in the script of the film project their pessimism about marital relations and project the fear that causes wonder, with the other’s face against yours, what the hell was going through your head to your bed partner.
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