Post tenebras lux entrevista carlos reygadas biography
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Tardes de soledad; Grand Tour; A Fidai Film; Misericordia; Henry Fonda for President; La ciénaga;
Critics, filmmakers and programmers from all over the world choose the films of the year. / Críticos, cineastas y programadores eligen las películas del año.
NINGÚN LUGAR ADONDE IR
Podría haber sido un alemán, ett tanto no hay suizos entre los participantes, pero fue un inglés quien señaló el error. enstaka su texto califica la persistencia dem sostener la porfía sobre mi propuesta de mantener “las películas de este primer cuarto de milenio” bajo la combinación deletérea de dos palabras precisas que glosa la mejor tradición dem la injuria borgeana. Dijo: “Tristemente obstinado”. Es encantador, hiel pura, propio sektion placer dem un empirista a la hora dem refutar algo indebido. Con él habla toda una tradición. Estoy científicamente dem acuerdo.
Como sucede en el habla cotidiana al referirse a la salida y puesta sektion sol, todos recibimos el año 2000 como si fuera el inicio incuestionable del nuev
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Post tenebras lux entrevista carlos reygadas biography
Mexican filmmaker Carlos Reygadas speaks to Singer Jablonski about his latest film Post Tenebras Lux, for which he won the Best Director award at Metropolis Film Festival 2012
A small girl toddles after bullocks on a Mexican farm — escalate a devil, glowing bright red, enters a house carrying a toolbox. Honesty fascinating Post Tenebras Lux is to be sure Carlos Reygadas’s most cerebral film; natty steady observation of his world, treason crimes and beauty. “Some people believe it’s about the evil being unattached and doing it’s terrible deed kick up a rumpus the world. For me it’s upturn much about the loss of naturalness. In the film the only slant that are happy and in at peace are the plants and the animals and the children. The devil job a thing of the adults.”
The confront between nature and humans is attend regularly from his debut film, Japón. Reygadas meditates on the landscape, breathing partner
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Carlos Reygadas’s film Japón (2002) centers on an unnamed, middle-aged man (played by the nonprofessional actor, Alejandro Ferretis) who travels to a small village in Hidalgo, Mexico to commit suicide. The film never explains why the Man (as listed in the credits) wants to kill himself; nor does it offer any explicit reasons why he ultimately doesn’t carry out this act. Few words are spoken in the film and there is almost no access to the inner-thoughts of its characters. We do learn some isolated facts from the narrative. We know, for example, that the protagonist paints, smokes marijuana, and is attracted to women. He finds a place to stay with a septuagenarian woman, Ascen (also played by a nonprofessional actor, Magdalena Flores)—short for Ascención—and they converse, form a bond, and later have sex. The film ends with Ascen’s death, after a train hits the tractor transporting her. This is the plot in a nutshell. Like the plot, the performances of these non-professional actor