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Gate of Flesh 1964
A particularly bleak Trümmerfilm, Sirkian in form (cleverly built on his trademark rondeau) and style (with colour as a key element of the mise-en-scène).
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All the Mornings of the World 1991
I have listened to the soundtrack many, many times, but never watched the film out of fear, perhaps, that it wouldn't live up to such beautiful music.
I can say now that it does: every aspect of it is Baroque. From its construction around opposites (authenticity/popularity, technique/emotion, simplicity/ornateness) to its themes of loneliness, silence, and memory.
A film that is Savall's as much as it is Corneau's and Angelo's.
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The Brutalist 2024
¿Esto es todo?
Su ambición agotadora de ser la Gran Película Estadounidense es injustificable por una fotografía insulsa sin sentido del espacio (tiene mucho mérito afear Carrara y Venecia) y por una narrativa prosaica sin sentido del drama (más allá de la manipulación emocional) ni de la Historia (el epílogo es especialmente repulsivo).
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