the thriller uses of the 70

Inside the transformed Collection Nosferatu that periodically Donostia Kultura publishes as complement of his cinematographic cycles, it has on sale the volume The 'thriller' uses of the 70, coordinated by Antonio José Navarro and in that a called chapter signed A both sides of the law. The clair-obscure ones of the figure of the police cinematic one, dedicated to the figure of the police officer in the movies of the epoch, and his relation with the black literature of Evan Hunter, Joseph Wambaugh and similar. Leaving aside my intervention, the book costs very much the sorrow, not only for his deepening inside an exciting stage of the genre, but especially because he gathers signatures as illustrious as Tomás Fernández Valentí, José Mª Latorre, Quim Casas, Ramón Freixas and Joan Bassa, Raúl Acín, Ángel Sala, Jesus Palacios, Carlos Losilla, Roberto Cueto, Jorge Gorostiza, Roberto Curti or Desirée of Fez, between others.

dossier martin scorsese / criticism of actuality / images

"Despite a marked out career of personal projects, Scorsese has carried out sporadic incursions in the universe of the cinematic artesanado, in which it has achieved the balance between order and proper expression that it characterizes to movies like Bertha's train, The color of the money, The end of the fear and Infiltrators"
More City of life and death... More An Education... More The stepfather... More Tiana and the toad... More Arthur and the revenge of Maltazard... More men who were looking fixedly at the goats... More The fourth phase... More Welcome... More Up in the Air...
Number 397 of the magazine Directed For, in the kiosks of the whole Spain.
The changes of dates of the distributors have infested this number of Directed of articles signed by me, something that has not recured in another magazine of the house...
"She was the big winner of the past Festival of Sundance and there took the Award of the Public of the Festival of San Sebastian (...). Undoubtedly, Precious has turned into one of the big cinematographic surprises of 2009, thanks to his adaptation of a durísima it writes novels of the American poetess Sapphire who has derived in a movie that exuda a complex honesty"
More Quite included... More An Education...
Number 299 of the magazine Images of Actuality, in the kiosks of the whole Spain.

lost: the (updated) way of the redemption

"One of the big wise moves of Damon Lindelof and Carlton Cuse as showrunners of Lost, and in fact, that has allowed the series not to have stagnated of premature form as it has happened to most of his supposed "heiresses (...)", it is that they have not been afraid in that his narrative development was, especially from the third period, in continuous evolution."
You can read the rest of the text inside the most interesting "Specially Lost" that the Looks friends have thrown coinciding with the premiere of the sixth one (and definitive) period of so mythical series. Do not lose eye, because it is going to be updating periodically and keeps very juicy surprises...
UPDATE: I have had the honor of inaugurating the weekly pursuit that is going to be realized from Looks of every chapter of the sixth period. In the same link there will be added the texts of the successive episodes, signed by different collaborators of so distinguished web.

shutter island

I am sure very much that many spectators, likewise it him has happened to a few critics, are going to remain much messed up before a proposal as Shutter Island. And not because what Martin Scorsese counts in her is much removed from his personal universe and from his habitual topics (although Laeta Kalogridis signs the script alone, the work of the Italian American is evident very much at the time of taking the novel of Dennis Lehane to its own domains), but because it gets overturned in a generic playing that is much thought to betray the expectations of the public, to take them for surprise offering them something different from what they were hoping to see. His work has been compared to that of Hitchcock, and although it is true that there is a similar work with the tension, and with the medidísimo rhythm to which information is provided to the spectator, I believe that the similar one turns out to be much more suitable with the work like producer of Val Lewton for the RKO.
It is difficult to speak on the movie without throwing spoilers to skillful and sinister, because really there is nothing in the staging of placed Scorsese free: everything has a dramatic function and, in some moment, it plays some role inside the plot framework (in fact, the sure well attentive spectator who can foresee where the shots go: the Italian American does not want to cheat anybody, only it pretends). The director plays very well his letters, and handles with tremendous skill all the multiple cinematographic modality that the history suggests him, especially the series thrillers B and the histories of Gothic terror. Although in the last years his movies seems to have lost this energy espídica, uncontrollable, that usually characterized him, the increasing classicism of his framings does not prevent him from transmitting an increasing oppressive, suffocating sensation, which reaches levels paroxísticos in the last compases of the length.
If the criminal intrigue of Shutter Island does not have too much force it is, simply, because it is not the most important of the movie. His absolute center is his protagonist interpreted by Leonardo Di Caprio, who does not stop being a transposition to a figure in the correct side of the law of the anti-heroes loaded with complexes of fault that so much there has always liked Scorsese (a little that is imputed mistakenly, certainly, his collaboration with Schrader). As Travis Bickle, Teddy Daniels is a man traumatized by his warlike experiences, in this case during the Second World war, hence also it turns into bearer of a clear suppressed anger. That the Italian American limits to the minimum his habitual violent starters it does not mean that the history that it counts turns out to be less impactante, not less horrifying: it is necessary to be very cynical not to feel a chill during his last sequence.
I would like to be able to speak about psychological disorders, and of how these affect the personages who populate the movie (I will only say that, inside the different interests of both artists, they are much lynchianos), but he would need to reveal too much of what in her happens. I will only say that, inside my humble knowledge on this matter, it seems to me that Scorsese reflects them with tremendous brightness, especially thanks to a splendid cast and ajustadísimo.
P.D. Nothing better to extend and to tint opinions than to throw a glance to the criticism of Shutter Island of the whole authority in psychology like Roberto Alcover Oti, and to the habitual clairvoyance of Diego Salgado.

fantastic mr. fox / criticism of actuality / images of actuality

"His collaboration with Henry Selick in the submarine sequences of Life Aquatic left Wes Anderson with the itch of going so far as to direct an animation movie. And finally it has managed to take forward his sleep with Fantastic Mr. Fox, adaptation of the most popular infantile book of Roald Dahl that the director has been capable of enriching by means of his particular cinematographic personality"
More Eli's book... More Only they... More Legion... More extraordinary Measurements... More The circus of the strangers...
Number 398 of the magazine Directed For, in the kiosks of the whole Spain.
This month my contribution to another magazine of the house has been more scarce than the habitual thing...
"It is necessary to admit that Clive Owen can choose his projects with enough intelligence as to prevent he from being classified easily. This way, although (...) more palomiteros have converted him into a species of intelligent alternative to the action heroes, it keeps on being taken down by projects as Only they, which allow him to vindicate themselves like dramatic actor on having offered him the possibility of opening his interpretive capacities"
More The superkangaroo...
Number 300 of the magazine Images of Actuality, in the kiosks of the whole Spain.