- Zinemaldia reaches its destination. Almost all movies have had their first screening, and most of them, criticism in the media. The public, therefore, no longer plays randomly. More than once I have heard it say: "This is fine, it'll be OK," or "there's no entrance for this, and I'm sorry I've received this other one." The predisposition has its role and we cannot know the influence it has on the film, that there is no innocence, at least it is clear.
The movie Monkeys has something to do with it. Horizontes is the work of Alejandro Landes that we have seen in Latinos and occupies a place in the landscapes of the Amazon area. A group of soldiers is based on a mountaintop, where they do training, games, meetings and celebrations; after all, life. It is an area of own code that the messenger approaches from time to time to give new orders. Everyone is clear about the team's goal: to care for the American hostage of the organization. In the meantime, there are essential conflicts in a society. The film reflects the development of a parallel state in which power management is the central element. In Landes a thread emerges where you cannot abandon the story that has begun once; the content catches you in form. Ideal for those who don't like slow movies, even if they don't allow time to breathe, they let us get out of the room thoughtful.
Delphine Lehericey's Le milieu de l'horizon is also related to power. The Swiss director has been selected for the second time in the New Directors section of the Official Section. The script is based on a book that reflects the global change in the rural environment of the 1970s. Gus is the son of a few baserritars and through him we realize the movements that are taking place in the family and in the dwelling. A drought prevents them from working and, as if it were the first drop of the volcano’s lava, economic problems cause many others who were hidden to explode with them. The disinterest in the dwarf of your child, the machismo that reproduces from generation to generation, the new influences that come from the outside... the film reflects the storms that bring all these landscapes. It is not naive, however, to make a film today that deals with these issues. Today, the difficulties to live in the farmhouse are still a reality and their survival is found in the new models of working families that are emerging. The development of the drama of this classic fictional script brings nothing to this reality that is being built; although history has gone well, I think it would be more important to make films that give the keys to what comes to do works that represent how difficult and hard the rural world is.
Today's last film, If the wind blows me away what I sing, by David Trueba, has just passed through the Made in Spain series, and it's set in similar decades. Set in the last decades of Franco, Fima narrates the life of Chicho Sánchez Ferlosio, a Swedish singer and composer, and his latest album Los gallos, published by him in Sweden. A story that has two outbreaks, one in Spain and the other in Stockholm. Chicago narrates the movement and repression of an entire generation, accompanied by anti-Francoist songs. Initially a member of the Communist Party of Spain, he explored different forms of militancy in resistance, using the same song to express protest messages. The room was packed with people of the same generation, and on the chairs you heard the murmur of some songs. The film features several anecdotes and references in which the people of the time could understand the context immediately. Even though it's a pleasure to see, I don't know if the movie plays in the same way for people who don't belong to the same generation. Or maybe, every movie has to keep a different thesis from each other, without looking for any recipe to understand them.