not only of Argentina, 1985 movie theaters live: streaming platforms will soon. Santiago Miter’s film will arrive on Friday the 21st on Amazon Prime Video while it is sure to be the most watched film of the year in the national industry. But for those who have already seen it, the movie billboard is renewed with the last duel? between heroine Laurie Strode (Jamie Lee Curtis in the role that established her) and serial killer Michael Myers (James Jude Courtney). Two contemporary twists on classics like Blood Weddingin theater, and Romeo and Julietstreaming, are also featured releases of the week.
Halloween: the final night. The 44 years that separate the first film from Halloween, created and directed by John Carpenter in 1978, of this final episode are exactly equivalent to the vital time of its great protagonist, Jamie Lee Curtis, within this story. Curtis was 19 years old when she first faced off as Laurie Strode with a fearsome masked psychopath named Michael Myers, perpetrator of increasingly gruesome serial murders deliberately framed around Halloween festivities –recalls Marcelo Stiletano in his criticism–. This closure finally meets all the expectations that were opened in 2018, when David Gordon Green went directly to the sources of the original Carpenter story, who resumed an influential place as executive producer, author of the soundtrack (along with his son Cody), and “inspirer” of the final trilogy. That influence is on full display in this effective conclusion that corrects the disappointing course of the previous episode, Halloween Kills: The night is not over yet, full of schematics, predictable behavior and routine formulas. It will now be said that this transition served nothing more than to prepare the ground for a very successful outcome, whose greatest virtue is that of being genuinely Carpenterian. the whole plot of Halloween: the final night It is crossed by the great theme of Carpenter’s cinema: the representation of evil. Our opinion: very good.
The 66 faces of the Moon. The relationship of the Argentine spectator with Greek cinematography can be summed up in a few impactful names such as Michael Cacoyannis (Zorba the Greek), Theo Angelopoulos (Ulysses’ look) and Yorgos Lanthimos (Canine). Added Costa-Gavras, from the international, and Pantelis Voulgaris, from the local, as the permanent marks of a cinema that has been known fundamentally through cycles and retrospectives such as the one that –parallel to this premiere– will be held at the Malba. Thus, Jacqueline Lentzou’s debut film deserves attention and even more so if you are looking for a proposal rooted in the coordinates of the most demanding contemporary auteur cinema, Paul DeVita writes. Because beyond the story, where a young woman returns to take care of her sick father discovering a secret hidden for years with a past reconstructed through VHS tapes, what is interesting about Lentzou is the refined and rigorous treatment of a harsh theme with a careful narrative form that can be synthesized through the subtitle of the film: “A film about love, movement, fluidity (and the lack of them)”. Our opinion: good
The luckiest girl in the world. Starring Mila Kunis, the film cannot tear itself away from comparisons with Lossthe work of Gillian Flynn -and its corresponding adaptation-, except that the author of the novel on which it is based, Jessica Knoll, made precisely that mistake that Flynn managed to avoid, she writes in her Milagros Amondaray review. The writer, in charge of extrapolating her debut work, the best seller Luckiest Girl Alive (2015), suggests, from the beginning, a certain self-indulgence. The film begins with the voiceover of its central figure, the young Ani Fanelli (Mila Kunis, in a role that borders on that of the black swan but that never ends up exploding like that), a thirty-year-old who is choosing with her fiancé Luke (Finn Witrock, an idea more than a character) the items for the gift list of his upcoming wedding. When Ani tests the knives, we find the first flash back that plants the mystery and with the stark voiceover of the protagonist, who clarifies that it is not what it seems at first glance, that we should not be fooled by what it shows. The film’s first critique of how a woman must navigate a patriarchal society in the pre-#MeToo era is interesting before it all goes off the rails. Available in: Netflix. Our opinion: regular.
Rosaline. Rosaline it hits on all fronts by giving nuance, depth and an infectious liveliness to the less remembered Capulet. Based on the teen novel When You Were Mineby Rebecca Serle, a version of Romeo and Juliet Set today in southern California, in which the protagonist is the young man’s first love, it has as props a great script and an irresistible heroine, writes Natalia Trzenko. Impetuous and determined to marry for love despite her father’s insistence on finding her an acceptable match (the hated Capulet is obviously no such thing), Rosalina seeks passion and adventure for her life and is unwilling to accept less than it’s. However, Romeo’s cloying romanticism doesn’t seem to win her over either, as her sarcastic governess notes. minnie driver he steals each of the few scenes in which he appears, and it is not an easy task for him, because in all of them he shares dialogues with the brilliant kaitlyn dever (dopesick) which thanks to Rosaline proves again, as it did in night of the nerds (terrifying local title of booksmart), that his talent for the drama also includes the comedy of entanglements and even the physical humor that from time to time appears in the plot. Available in: Star+. Our opinion: very good.
Blood Wedding (San Martin Theater). In this risky version of García Lorca’s classic –affirms Carlos Pacheco in his criticism– the director Vivi Tellas builds a show that dialogues with this troubled contemporary world in which it would seem that Blood Wedding, as a story, has little to contribute. A rural drama in which the landscape ends up shaping the behavior of the characters and then seems to devour some of them. On very many occasions, when it comes to bringing the piece to the stage, a certain classical style of interpretation has even been protected, in which care was taken that various moments of the action are expressed with such solemnity that they would enable the public to recognize the interpretive quality, especially the mother. But Tellas escapes all solemnity, respects the original text by García Lorca but, among other things, decides to venture to investigate certain gender issues. This causes feminine elements to appear in the image of Leonardo and The Boyfriend. The maid in The Bride is played by a man who, although dressed as a woman, maintains his masculine voice and body posture (creative work by Agustín Daulte). Our opinion: good.
wild scissors (Multitabarís Comafi). In tune with the revival of old comedies that knew how to be successful here, there and all over the world, now comes wild scissors (Shear Madness), the piece by Paul Pörtner that has been performed in the United States for more than 40 years and was seen by 14 million spectators. In Argentina it had several stagings, one of them starring Rudolph Beban at the Maipo theater, under the name of fatal cut, in 1992. The current one is “updated” to the new times, but the thick and strident line that permeates the entire proposal (starting with the performances and continuing with the costumes and scenery) sometimes conspires against its effectiveness. All in all, it continues to be a funny and easy-going piece, fundamentally for an audience without great pretensions; hence its logical framework, and possibly the most successful, would be that of the summer seasons on the coast or in the mountains, Gustavo Lladós ponders in his review. Our opinion: good.