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Viharsarok (2014)
Empathy
I personally never get tired of homophobia-themed movies, but this one I do find hard to believe. The ménage-à-trois period of the movie is missing an introduction, there's just no opening to that, it just happens.
Abundant sex scenes lay in a ground where they're neither completely revealing, nor shy.
The end had no elegance, again just so abrupt.
Watching this film, I feel I didn't get the chance to understand the emotions of the characters. It lacks in-depths of their feelings.
La corrispondenza (2016)
Meh...
The acting was not at all convincing, it was instead the plot that moved me. I managed to make myself ignore the interpretation and focus on the story.
Somehow a sweet, complex argument: to extend one's time beyond death. It worked -to me- for the sake of the love story, but completely detached from all the infinity-universe-galaxy-stars discourse.
The starry night in the end, or that falcon flying along the train were I think cruel distractions.
So 5/10, for the tears I shed and the beautiful frames of Orta and San Giulio island.
Hawaii (2013)
You already know this story
It feels just like when you were a kid and you felt attracted to that friend of yours:
The silent moments waiting for something to be said, the observing, thoughts running through your head, failed attempts to get attention in the right direction, the insistence, the uncertainty... The "I want you but I want you to be the one who makes the move."
With this movie I can remember the sensations I went through while discovering what true attraction feels like. They do a great job in beautiful silent scenes that comunicate way more than the spoken ones.
Dancer in the Dark (2000)
Selma Jezkova
In the beginning I thought she was funny, clumsy and even a bit stupid. Later on, after 10 minutes of Björk's voice, I realized how much I was falling in love with her character. Selma Jezkova is probably the most moving character I've ever seen in film. Pure, innocent and simple.
Björk's interpretation is just perfect, the atmosphere in the film -with infinite tones of brown, golden yellow and faded green- adds to her dusty, deep voice. Every other character in the movie seems to pledge to underline her authenticity.
This is one of the greatest movies I've ever seen.
Bram Stoker's Dracula (1992)
Loyal story-line, excessive image
In giving an image to a story written on a book, I suppose there's a very complex difficulty with interpretation. Everyone has a different conception of characters as described in books: we all build the image that best suits the given description by the author, using as many resources as we possess.
But in Coppola's film, it is just too extravagant, too excessive. If looked through the filter of Bram Stoker's novel –considering the title of the movie itself declares to be loyal to the author's name, I don't find other filters to be more accurate–, the image portrayed by Coppola is a disgrace.
I must say that the story-line is quite complete and does not contain unnecessary changes such as in Browning's version (1931) or in Herzog's (1979), regarding who leads the actions. What these two lack in story-line, Coppola's lacks in image (or exceeds in it and takes it off track). Characters like Jonathan Harker, Quincey Morris and Abraham Van Helsing in Coppola's version are quite well-made; while Lucy Westenra is a complete disaster.