Martin Cid's Blog: Martin Cid Magazine, page 89

“Pedro Páramo” – A Film on Netflix: An Evocative, Sad, and Poetic Vision of Death and Familial Ghosts

“Pedro Páramo” is a Mexican movie starring Manuel García-Rulfo with Tenoch Huerta, Ilse Salas, and Mayra Batalla. It is directed by Rodrigo Prieto, and written by Mateo Gil.

In 1955, Juan Rulfo penned “Pedro Páramo,” which quickly ascended to the ranks of universal literary classics, thanks in part to the literary boom of the 1950s in Hispanic America. The novel is notoriously difficult to adapt, given its evocative potential and literary poetics. A novel that, when read, seemed almost impossible to translate into another medium has now been revisited by Rodrigo Prieto, who endeavors to capture the ghostly spirit of a town steeped in death, memory, and sadness.

Staying true to Juan Rulfo’s original text, the film manages to capture the essence of the story, as well as the spectral and evocative force of this iconic novel from the last century.

Plot

A man returns to a Mexican village to learn about his father, Pedro Páramo. Upon arrival, he discovers that his father has passed away, and the entire town is enmeshed in memories, sadness, and the omnipresent specter of death.

About the Film

“Pedro Páramo” achieves a faithful adaptation of the novel and a meticulously crafted atmosphere that captures the spirit of that legendary 1950s narrative. This marks Rodrigo Prieto’s directorial debut, having previously made his name as a cinematographer. He embarks on an ambitious and highly risky project: adapting a literary classic that derives its power from the evocation of the written word. Transforming the poetry of the text into visual imagery seemed an insurmountable challenge, but Prieto accomplishes this through powerful cinematography, striking visuals, and by staying true to the original text, especially in its spirit.

“Pedro Páramo” takes viewers on a journey into shadows, memories, and the Mexican soul, while also touching upon universal emotions. This film does not aspire to be a Hollywood-style blockbuster, nor does it aim to be. It unfolds slowly and deliberately, telling its story in fragments much like the book, and will likely feel heavy and tedious to many viewers. However, this film is not designed for all audiences or sensibilities. “Pedro Páramo” demands that its viewers engage with a more complex understanding of the characters and their own existential reflections. It challenges the audience to confront the darker aspects of the soul and to grapple with profound, often unsettling questions that are infused with violence and poetry, ultimately pulling them out of their comfort zones.

This is not an easy film to watch, nor does it cater to the viewer’s desires. “Pedro Páramo” was created with the intent of offering a dark journey through the most shadowy realms of the human condition and its deepest, most sinister thoughts. Does it succeed? We believe it does, making it, in our view, the finest adaptation of Juan Rulfo’s novel to date.

Enjoy the film.

Where to Watch “Pedro Páramo”

Netflix

“Meet Me Next Christmas” – And Christmas Comes Early in November on Netflix

“Meet Me Next Christmas” is a Netflix romantic comedy starring Christina Milian, Devale Ellis, and Kofi Siriboe.

Although there’s still a month and a half left, television networks have begun this season with a Christmas classic: romantic comedies. This genre has evolved into an almost perfect formula where, movie after movie, few changes occur: settle into your comfort zone and anticipate… the unexpected? Not exactly. In predictability, this genre finds its best ally, and viewers find their greatest delight.

Christina Milian shines as the leading lady in this festive film.

Plot

Layla is a modern woman with a balanced life… until she catches her boyfriend with someone else and meets two charming guys on the same night. She plans a date with one of them for a concert, but she doesn’t have a ticket, while the other has to get it for her.

Amidst numerous suitors, the Christmas season, twinkling lights, and falling snow… will love blossom? What a delightful mystery!

About the Movie

The film kicks off at Chicago’s airport and, by coincidence, takes us to the city that has hosted the most Christmas romantic comedies: New York. “Meet Me Next Christmas” is created with the firm belief that the best approach is to give the audience exactly what they expect, without inventing anything new: an intelligent girl, unjustly treated by her boyfriend, now has to choose between two wonderful suitors.

Honestly, who wouldn’t want to be in her shoes?
As Christmas is about living dreams and making fantasies a bit more real, “Meet Me Next Christmas” aims to capture that essence by returning to the classicism of a traditional romantic comedy. It has it all: attractive, charming, intelligent, and sensitive characters, music interludes, and, of course, the quintessential Christmas city: New York.
“Meet Me Next Christmas” doesn’t strive for originality nor does it need to: it features classic characters, a traditional Christmas story, and the predictable resolution we all expect. Why innovate in a genre that has been perfected over the years? Thus, the film becomes another quality Hollywood product of this season: excellent actors, sharp dialogues, and a script structure that works flawlessly because it has been tested in a thousand previous films.

Will “Meet Me Next Christmas” become the movie of your life? Probably not, but it’s a good film that, without trying to be original, knows how to meet expectations. It offers a story that understands what is anticipated and how to make viewers feel completely at ease in the promised comfort zone.

A film that delivers precisely what it promises.

This movie is exactly what one might anticipate from a holiday romantic comedy. It’s a delightful, formulaic offering that reassures us with its predictability, providing the warm, fuzzy feelings we crave during the Christmas season. So, grab your favorite blanket, settle in, and let “Meet Me Next Christmas” take you on a familiar, yet heartwarming, holiday journey.

Where to Watch “Meet Me Next Christmas”

Netflix

Parmigianino: The Vision of Saint Jerome – An Exhibition at The National Gallery, London

In commemoration of our 200th anniversary, the National Gallery proudly reintroduces Parmigianino’s Madonna and Child with Saints (1526–27) to the public eye after a decade-long absence, following painstaking conservation efforts.

This quintessential masterpiece of 16th-century Italian art was bequeathed to the National Gallery in 1826, just two years after the institution’s inception.

Commonly referred to as The Vision of Saint Jerome—a title it acquired in the 19th century due to the unusual portrayal of the seemingly sleeping saint—this altarpiece will be showcased for the first time alongside a curated selection of some of the most significant preparatory sketches. These drawings offer a unique insight into Parmigianino’s creative journey, charting the evolution of his singular composition.

Parmigianino. The Madonna and Child with Saints John the Baptist and Jerome. 1526-7. Oil on poplar, 342.9 × 148.6 cm. © The National Gallery, London. Presented by the Directors of the British Institution, 1826

The exhibition, featuring generously loaned works from major national and international collections, provides an extraordinary opportunity for visitors to trace the artist’s creative process, from initial conceptual sketches to the finalized design. It offers a window into the mind of one of the Renaissance’s most innovative artists.

Girolamo Francesco Maria Mazzola (1503–1540), who earned the moniker Parmigianino after his birthplace of Parma in northern Italy, was born into a family of painters. By his early twenties, Parmigianino had already garnered a reputation as a prodigious talent, capturing the interest of affluent and cultured patrons. His growing fame preceded his arrival in Rome around May 1524, where he was personally received by Pope Clement VII. During this period, Rome was dominated by Raphael’s serene and classicizing style of idealized beauty. The elegance, inventiveness, and meticulous execution evident in Parmigianino’s early works earned him the appellation of a ‘Raphael reborn.’

Parmigianino painted the Madonna and Child with Saints at the tender age of 23 during his brief but influential sojourn in Rome from 1524 to 1527. Commissioned by the noblewoman Maria Bufalini as an altarpiece for a chapel in the church of San Salvatore in Lauro, an important religious complex at the city’s heart, this commission represented a pivotal opportunity for the young artist at a critical juncture in his career. Nevertheless, the painting was never installed in the church for which it was intended.

According to Giorgio Vasari (1511-1574), Parmigianino was working on this altarpiece in 1527 when the catastrophic Sack of Rome occurred. As imperial troops of Charles V stormed the city and entered the artist’s studio, they were so astonished by the painting that they allowed Parmigianino to continue his work. Ultimately, he fled Rome, hiding the painting for safekeeping. It was recovered by the patron’s heirs long after the artist’s death and relocated to their family church in Città di Castello, central Italy.

Parmigianino’s Madonna and Child with Saints exemplifies the breadth of influences he assimilated in Rome, from the works of Raphael and Michelangelo to ancient sculptures. However, more than merely a compilation of other artists’ influences, it highlights Parmigianino’s uniquely visionary approach to image-making.

Set against rays of divine light, a majestic Madonna dressed in rose pink sits enthroned on billowing clouds. Her infant son, a blonde, curly-haired toddler, steps towards the viewer. Below them, the almost otherworldly figure of John the Baptist directs our gaze upwards with an impossibly long arm, guiding attention to the holy mother and child above. Behind him, a slumbering Saint Jerome reclines amidst a tangle of overgrown roots and leaves, seemingly unaware of the divine vision above him.

Parmigianino was one of the 16th century’s most gifted and prolific draughtsmen. Nearly 1,000 drawings attributed to him survive today, making him second only to Leonardo da Vinci (1452–1519) in both quantity and technical mastery. Parmigianino devoted numerous drawings to developing The Vision of Saint Jerome, ranging from atmospheric, velvety chalk studies to dynamic pen and ink sketches. These works reveal his exquisite draughtsmanship and exceptional skill across various media.

The recent conservation treatment has successfully removed accumulated layers of old varnish and retouching, revealing the vibrant quality of Parmigianino’s brushwork and rich color palette. The painting’s new frame, crafted by the National Gallery’s Framing Department, is inspired by surviving contemporary examples, providing a sense of the painting’s original church setting.

Parmigianino’s distinctive style, characterized by elongated figures and a sophisticated elegance combined with an unexpected manipulation of space, laid the groundwork for the style later known as Mannerism. With its extreme verticality, lush brushwork, and shimmering palette, this painting has captivated audiences for nearly 500 years. This exhibition offers a rare opportunity to rediscover one of the early masterpieces of Italian Mannerism for both the public and specialists alike.

The exhibition catalogue serves as a comprehensive resource on the painting, authored by the exhibition curators with contributions from Aimee Ng, Curator at the Frick Collection in New York, and Larry Keith, Head of Conservation and Keeper of the Collection at the National Gallery. It includes a special plate section with full-page illustrations of all known preparatory drawings. Dr. Alambritis’s research presented in this exhibition has been supported by the Rick Mather David Scrase Foundation.

Dr. Maria Alambritis, Project Curator for Parmigianino, states, We are incredibly fortunate to house Parmigianino’s Roman masterpiece, the only altarpiece by him in a UK collection, here at the National Gallery. Its return to public view after a decade marks a momentous occasion to celebrate its significance. This exhibition provides an unparalleled opportunity to experience the painting alongside a selection of its remarkable preparatory drawings. I hope visitors will be enthralled by this magnificent work and immerse themselves in Parmigianino’s supremely elegant style and unique visionary world.

“Love Village” Returns to Netflix for a Second Season: Love Knows No Age

“Love Village” is a Netflix reality hosted by Atsushi Tamura and Becky.

Love Village – Netflix

“Love Village” boasts a straightforward yet captivating premise: bringing together a diverse group of individuals of various ages and genders in a villa, allowing them to discover love on their own terms. The setting for this romantic experiment is a picturesque villa in Okinawa, Japan, with participants ranging in age from 35 to 60 years old. From there, we witness the unfolding of their romantic journeys.

Entering its second season, “Love Village” continues to captivate audiences with its simple yet effective format, proving that reality shows centered on romance remain highly popular, even in Japan. This time, the show is set in a traditional Japanese house, providing an unparalleled backdrop for budding romances.

The rules are uncomplicated: when love blossoms, one of the participants rings a bell. If the love is mutual, the couple leaves the villa, elated to have found their soulmates. However, if the declaration of love is unreciprocated, the person who confessed must depart, making way for a new participant to join the quest for love.

About the Series

“Love Village” is meticulously designed to maintain an air of authenticity, emerging as a classic reality show in every sense. The hosts and guests share their insights from the studio, keeping viewers updated on the participants’ progress. The organizers exercise minimal interference, allowing genuine connections to form naturally in an environment that is both serene and traditionally Japanese.

In essence, this series is tailor-made for hopeless romantics and viewers who cherish classic love stories. For those who fall into this category, the second season of “Love Village” promises to deliver a multitude of heartwarming moments.

We hope you enjoy this season’s journey through love and tradition.

Where to Watch “Love Village”

Netflix

Eddy Kamuanga Ilunga: Nature Morte – October Gallery, London

October Gallery is proud to present Nature Morte, an evocative new solo exhibition by Eddy Kamuanga Ilunga, a trailblazing contemporary artist hailing from the Democratic Republic of Congo. This marks Kamuanga’s fourth solo exhibition at October Gallery, where his powerful and thought-provoking paintings delve into the concealed repercussions of toxic waste contaminating the environment—an environment upon which local Congolese communities depend for their very survival and basic needs.

In this latest series, Kamuanga masterfully intertwines storytelling and symbolism, with each canvas contributing to a collective narrative that unveils a distinctly modern conundrum. Unlike his previous works, which examined historical issues related to slavery and the enduring impacts of colonial expansion, these new paintings depict a present-day nursery scene cluttered with plastic toys, baby chairs, and various items heralding the arrival of a newborn. Yet, the characters in these scenes appear listlessly engrossed by these vibrant yet lifeless objects, representing a missing child—the sole vital figure whose presence could breathe meaning into the varied mises-en-scène. The exhibition’s title, Nature Morte (French for ‘dead nature’), typically translated into English as ‘still life,’ describes portraits of inanimate objects carefully arranged for display. However, given the intense focus of the mother and other family members around the infant’s high chair and the pile of untouched toys, the term takes on far more unsettling connotations, hinting that the absent infant was either stillborn or has recently passed away.

The almost surreal drama unfolding before us brings the Democratic Republic of Congo’s traumatic history of exploitation by foreign powers into sharp relief in the present day. The artist’s focus has shifted from the brutal histories of Belgian colonial control to the current scenario where neo-colonial powers once again dominate the lives of ordinary Congolese citizens. To satiate the insatiable demands of the computer industry and “green” battery manufacturing, international corporations are rapidly extracting the Congo’s rich mineral resources, particularly cobalt, copper, and coltan. Today, over 40% of the country’s heavy metal mining capacity is controlled by Chinese enterprises, adding a layer of irony to the cheap, plastic accessories and the ‘cute’ Panda face depicted in paintings like Red Energy.

For years, alarming reports of deforestation, land pollution from wastewater spills, contamination of drinking water, and the restriction of local populations’ movements have grown increasingly frequent. The detrimental impacts of industrial mining processes on food production, human health, and local biodiversity are well-documented, especially in Katanga, the central region of the DRC, where Kamuanga’s parents trace their roots.

Kamuanga’s figures, their skin etched with intricate patterns of digital circuitry, serve as unwilling witnesses to the relentless clash between the ancestral and the modern, the local and the global. These paintings lay bare the tremendous human cost exacted by our unending demand for modern technology, a demand that ensnares unseen victims in the devastating aftermath of industrial-scale mining that disregards environmental preservation and human dignity. Burdened by the oppressive weight of history, Kamuanga’s iconic figures bear the scars of a nation grappling to navigate the perilous waters of neo-colonial exploitation and the erosion of a cultural heritage unable to shield the natural environment that once nurtured and sustained it.

Exhibition dates: 14th November, 2024 – 25th January, 2025.

“The Body as Resistance: Duration” at La MaMa Experimental Theatre Club

La MaMa Experimental Theatre Club, located at 66 E. 4th Street in New York City, is hosting a workshop titled “The Body as Resistance: Duration.” This three-hour workshop, organized and facilitated by Rafika Chawishe, will delve into the art form known as “long durational performance.” The workshop aims to invite participants to question and reflect on the role and function of performance art.

The focus of this workshop will center on the director’s concept of “Barren,” encompassing barren land, barren bodies, barren ideas, and barren struggles. Participants will also examine how the viewer’s position relative to the performance influences the creation of the spectacle.

The workshop intends to push the boundaries of our understanding by exploring the relationship between individuals and their environments, as well as the emotions that emerge from this interaction. Through a series of discussions and practical exercises, attendees will investigate whether a performance can mirror the perceptions and commitments of the audience, and how individuals can use their bodies as canvases of resistance to examine their own limits.

Artists, students, and graduates in the fine arts disciplines—including dance, theater, and music—are encouraged to apply for this intellectually stimulating workshop. However, even if you do not fit into these categories but have an interest, you are welcome to apply. To do so, please submit a CV and a brief explanation of your reasons for wanting to attend. Applications can be sent to performancelab.electra@gmail.com. Note that the workshop has a limited capacity of up to 20 participants, but auditing the session is an option for those who are interested.

Rafika Chawishe, an award-winning actress and theatermaker, is known for her work exploring themes such as memory, trauma, gender, and post-colonialism. Her artistic practice spans multiple mediums, including theater, multimedia, spoken word, and performance art, all of which engage with pressing social issues.

As an advocate for children’s rights, Rafika has made significant contributions to supporting unaccompanied refugee minors in Lesvos, Greece. In 2014, she co-founded THE BLIND PLATFORM with Antonis Volanakis, which promotes collaboration between refugee and local artists.

Rafika’s accolades include numerous awards for her theater work, as well as performances in film and television. She is set to appear in the upcoming series “The Second Attack,” directed by Barbara Eder, which will premiere in January 2025 on ARD in Germany.

Her performances have been showcased in major cities such as Athens, Oslo, Berlin, and New York, and she has collaborated with prestigious organizations like the National Theatre of Oslo and the Maxim Gorki Theatre. Rafika has been recognized for her innovative contributions and has received the Ibsen scholarship and a Neon Foundation grant. She is also a member of the Lincoln Theatre Director’s Lab and the Young Curator’s Academy, continually challenging and inspiring contemporary theater audiences.

La MaMa Experimental Theatre Club is committed to supporting artists and all facets of theater. Their 63rd Season, titled the “La MaMa Beyond Season,” aims to expand efforts to develop creative methods and tools for greater access to the arts. This season will feature pop-up performances and installations in parks, neighborhood community centers, and online, reaching new audiences and artists from diverse backgrounds.

La MaMa has been honored with over 30 Obie Awards, numerous Drama Desk and Bessie Awards, Villager Awards, the 2018 Regional Theatre Tony Award, and a 2023 New York Drama Critics’ Circle Special Citation. It serves as a creative home for artists and resident companies worldwide, many of whom have made significant contributions to the arts. Notable artists include Blue Man Group, Bette Midler, Ping Chong, Jackie Curtis, Robert De Niro, André De Shields, Adrienne Kennedy, Cole Escola, Bridget Everett, Harvey Fierstein, Diane Lane, Charles Ludlam, Tom Eyen, Spiderwoman Theater, Tadeusz Kantor, Marc Shaiman and Scott Wittman, Meredith Monk, David and Amy Sedaris, Stephanie Hsu, Julie Taymor, Kazuo Ohno, Tom O’Horgan, Andrei Serban, Liz Swados, and Andy Warhol. La MaMa’s vision of nurturing new artists and new work from all nations, cultures, races, and identities remains as robust today as it was when Ellen Stewart first opened its doors in 1961.

The workshop will take place on Saturday, November 16, 2024, from 11 AM to 2 PM.

Lauren Fensterstock’s New Solo Exhibition Illuminates Claire Oliver Gallery with Luminous Creations

The Claire Oliver Gallery is delighted to unveil “Some Lands Are Made of Light,” a solo exhibition featuring new, intricately crafted sculptures and jewel-encrusted drawings by Lauren Fensterstock. In the face of today’s politically polarized and socially tumultuous climate, Fensterstock aims to create artworks that provide moments of introspection and tranquility. She posits that every individual holds the potential to be a catalyst for positive transformation—within themselves, their communities, and the broader cosmos. Her profound meditation practice serves as a cornerstone for these new creations. “Some Lands Are Made of Light” offers a contemplative space within the organic and spectral dimensions represented by her sculptures and small-scale charcoal works adorned with embedded Swarovski crystals. This new exhibition, a year in the making, showcases 30 new pieces now on view in New York City.

Fensterstock’s latest creations draw inspiration from the South Asian religious and artistic tradition of mandalas, sacred symbols of the universe, which she transforms into intricate, jewel-like compositions.

“I perceive my work as akin to jewelry, not for the adornment of the body, but rather to elevate the soul,” says Fensterstock. “I invite viewers to pause and reflect on their place within a collective experience, and to embrace their perceived imperfections—acknowledging that our differences, flaws, and struggles are what make us uniquely human.”

Each sculpture is a harmonious assemblage of repurposed treasures: natural crystals, quartz, chandelier parts, glass, Swarovski crystals, and antique beads, coming together to form wild lotus flowers, exploding planets, stars, and suns. Fensterstock reconfigures these diverse elements into iconic yet fluid symbols of transformation, scaled into intimate offerings. Her lotuses burst, curl, crackle, and shatter; in one piece, her natal constellations are mapped in glistening, starlike gems, while in another, the flower’s bulb takes the form of a swirling, cavernous black hole.

The balanced interplay of light and darkness in Fensterstock’s work oscillates between sensations of clarity and mystery, the miniature and the monumental, embodiment and expansion. Each work begins with an ink drawing. From there, she constructs wood and steel frameworks, coats them in cement, embellishes them with intricate mosaics, and finishes them with mortar and grout. Like assembling a spiritually charged puzzle, Fensterstock designs her mosaics piece by piece, each detail imbued with intuition, contemplation, and care.

The exhibition’s title draws inspiration from “The Flower Ornament Scripture,” also known as the Avatamsaka Sutra, a seminal Buddhist text that explores universal liberation through symbols, structures, and sacraments. Reflecting her daily meditation practice—where she meticulously places gem-like offerings onto a convex metal tray, letting each stone fall into her lap to form a singular mandala—every fragment in her sculptures symbolizes a moment of presence, a convergence of people, places, histories, and materials.

In a culture that often accentuates isolation and individualism, Fensterstock aspires for her work to remind viewers of the intimate flickers of connection that collectively form radiant beams of light.

Exhibition dates: November 14, 2024 – January 18, 2025.

“Freedom” on Prime Video: A Romantic Heist Thriller

“Freedom” is a French romantic thriller movie starring Lucas Bravo and Léa Luce Busato. It is directed by Mélanie Laurent.

The versatile Mélanie Laurent both writes and directs this enchanting film about charming and seductive thieves. Set against the backdrop of the 1980s, it draws inspiration from the life of the renowned thief Bruno Sulak, although, as noted at the beginning of the movie, it is a loose adaptation of the real events and the gang it portrays.

“Freedom” is more than just a thriller; it is, at its heart, a love story, a romantic film filled with impossible loves and poignant tragedies. The central character is a captivating, poetic, and passionate figure who, in addition, harbors ideals. This adaptation of the life of this thief, his gang, and his partner makes its way to Prime Video.

Freedom – Prime Video

About the Film

“Freedom” is a simple yet charming film. It doesn’t feature grand heist scenes, high-speed chases, or jaw-dropping sequences. Neither is it a biographical film nor does it strive to be a faithful portrayal of Bruno Sulak’s life, who was somewhat of a French Robin Hood.

Instead, “Freedom” aims primarily to be a romantic movie that, in passing, offers a nostalgic portrayal of the 1980s in France, the era in which its characters lived. It contains many moments of pause and romance, but it is not an intimate film; it leans more towards a poetic narrative rather than a Hollywood style. It is very easy to watch, quickly consumed, and leaves a beautiful memory in the subconscious, like a gentle breeze or a pleasant afternoon. However, it was created without the pretension of permanence or the intention of breaking the genre’s norms.

Nevertheless, it remains tender and seductive at all times, relatable at a character level, and excellently acted. It is one of those films that knows exactly what to do and which emotional chords to strike at every moment, leaving viewers with the feeling of having witnessed a good story without necessarily having to change their lives.

Our Opinion

This French film adeptly blends a heist thriller with romance, ultimately leaving the pleasant sensation of quality cinema that is unhurried, almost reflective, and imbued with poetic airs.

Where to Watch “Freedom”

Prime Video

“Joker: Folie à Deux” – Movie Review: As Brilliant as It Is Darkly Tragic

“Joker: Folie à Deux” is a movie directed by Todd Phillips starring Joaquin Phoenix and Lady Gaga. With Brendan Gleeson, Catherine Keener, and Harry Lawtey.

Todd Phillips set out to create a film that defies traditional genres, leaving viewers in a state of emotional turmoil similar to that of Arthur Fleck: teetering on the brink of despair and always flirting with utter degradation. He achieves this, but the outcome is not always pleasant or easy to digest.

“Joker: Folie à Deux” shines brightly at times: it is technically well-crafted, with complete creative freedom, and carries a message that is as profound as it is cynical and overwhelming. This film will neither appeal to everyone nor has it been well-received by the majority, as “Joker: Folie à Deux” is not intended to be an enjoyable experience; it aims to degrade Arthur in Arkham to his ultimate downfall.

Plot

It is the trial of the century: multiple murders, and finally, the trial against Arthur Fleck. Outside the courthouse, the crowd demands freedom for the man who brings chaos and anarchy, while inside, Arthur meets Harley, a beautiful woman with whom he falls hopelessly in love and begins to fantasize about.

Joker Folie à Deux

About the Film

“Joker: Folie à Deux” is, at times, brilliant, particularly in terms of its technical execution and performances. Joaquin Phoenix reprises his role, and he is as compelling, if not more so, than in the first installment, for which he received an Oscar. Lady Gaga proves herself to be both a talented actress and an exceptional singer, with ample opportunities to showcase both talents. Her role is dark and truly malevolent because, in this film, Harley is the genuine “villain.”

Visually, the film is meticulously crafted: perfect framing, vibrant colors, and a depiction of Arkham, the psychiatric institution where the protagonist is confined, that is both realistic and magical. The script is of high quality, although it perhaps makes too many references to the first film and relies heavily on its predecessor, which might detract from the interest in the developments of this second movie.

Nonetheless, everything is creative, brilliant, and of exceedingly high production quality. However, it is a film that is infinitely darker than the first, and whenever a glimmer of hope appears, reality asserts itself over the spectacle, leading to the personal tragedy of real life.

“Joker: Folie à Deux” is relentless in its effort to degrade Fleck’s character to the utmost. It succeeds, and it does so exceptionally well, perhaps too well, with an even more bitter added metaphor: the character transcends the person, and we only serve the fiction as long as we are part of it. When we cease to be useful, when we try to reveal the person behind the character, society and the media will vilify us and cast us aside.

Our Opinion

“Joker: Folie à Deux” is a film that aims to obliterate all hope and any possibility of redemption by degrading its main character to the extreme. It achieves this, in a manner that is both brilliant and utterly heart-wrenching.

“Apocalypse Z: The Beginning of the End”: The Zombie Virus Hits Spain on Prime Video

“Apocalypse Z: The Beginning of the End” is a Spanish thriller movie directed by Carles Torrens. It is written by Ángel Agudo, and based on the novel by Manel Loureiro. it stars Francisco Ortiz. With José María Yázpik, Berta Vázquez, and Marta Poveda.

Prime Video brings us the latest film by Carles Torrens, presenting a storyline that will undoubtedly resonate with everyone: a deadly virus spreads worldwide, turning its hosts into brainless creatures that attack anyone who crosses their path with ferocious violence. Yes, the zombie virus has arrived, and Spain is not an exception when it comes to producing zombie movies and their countless variations, especially in an era where, after COVID and lockdowns, we all dread the emergence of an even worse virus.

This is a golden opportunity for production companies, capitalizing on collective fear to create films that often feel like repetitions of their predecessors, both in narrative and in assured commercial success.

Plot Summary

Spain declares a State of Emergency, handing control over to the military. In Vigo, a man defies orders and stays home with his cat while outside, the onset of a virus threatens to wipe out the population.

About the Movie

“Apocalypse Z: The Beginning of the End” leans more towards a survival thriller than a traditional horror film: it opts for situational tension rather than showcasing spectacular zombie scenes. With minimal special effects, the movie delves into the internal anguish of its characters rather than creating high-stakes, special-effects-laden scenarios.

The film distinctly separates itself from other international productions: it neither possesses the grandeur of South Korean films nor does it lean towards Hollywood’s extravagance. The narrative unfolds slowly, almost deliberately, focusing on the past trauma of the main character, who has recently lost his partner in a car accident. The film prioritizes exploring the character’s psychological state over the zombie apocalypse itself.

It’s a well-executed production with strong direction and writing, yet it avoids visual grandiosity. Instead, it presents a survival story told well, concentrating on the main character’s psyche. In doing so, “Apocalypse Z: The Beginning of the End” sets itself apart from the blockbuster productions we’ve seen recently: there are no grand heroes saving humanity or magical cures for the virus. Here, heroism is simply about surviving.

Francisco Ortiz delivers a commendable performance, masterfully embodying his character and sustaining the film’s momentum throughout.

Overall, “Apocalypse Z: The Beginning of the End” is a gripping survival thriller that shuns the usual zombie movie tropes in favor of a more introspective and psychological approach, making it a standout addition to the genre. This film proves that sometimes, the most compelling stories are those that focus on the human condition and the quiet struggles of everyday survival amidst extraordinary circumstances.

Where to Watch “Apocalypse Z: The Beginning of the End”

Prime Video