Composer from Mexico City
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Snow White 2025
Rachel Zegler good. CGI abomination dwarves baaad. Gal Gadot weird.
A deeply uneven experience for me, but I'll be damned if Zegler doesn't churn out a commanding performance. There's also a number of beautifully crafted orchestral arrangements, and I actually liked a couple of the new songs. I'd say about 30–35% of the film is unwatchable, the rest is mostly okay, and some bits actually do soar.
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Suzume 2022
I enjoyed this one, and helped rehabilitate my relationship to Shinkai's work after the disappointment I felt with Weathering With You a few years ago. However I still have to say that his work tends to leave me feeling like I ate too much cake – it apes the magical logic of Miyazaki, but at its core it's high octane melodrama, and it gets to a point where I wish he would just embrace the interpersonal character development and drop…
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Maria 2024
Suffused with the spirit and stylized artifice of opera, I really enjoyed this fantastical riff on Maria Callas's life. Romantic, decadent, and indulgent, it provides Angelina Jolie with an appropriate canvas to occupy that mythological, always distant and profoundly contradictory figure of the operatic diva. As a composer, this film reminded me of the deep impact 19th century opera had on me, and of the great stories its performers have embodied. The slower, theatrical narrative rhythm that Pablo Larraín borrows from the operatic genre is a welcome breath of fresh air in a market saturated with films made for obliterated attention spans.
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