The title and the poster are extremely misleading. The spectator who is about the vision of Sexual Dependency (2003) hoping to find you inside prurient content, but must deal with a very, very interesting visual experiment. The first film by Rodrigo Bellot, director of Bolivia that even after five years to work with Soderbergh diptych about Che, consists of a permanent split screen that splits the screen to (almost) all his life. So there is a focal area doubled compared to the usual films, and what you have to ask is whether this multiplication of sources of vision is actually functional or whether only creates confusion.
beginning is not easy to enter the mechanism having little experience you have with a device so original. Once adequate arrangements for the operation Bellot is intriguing and semen from the theoretical point of view, we are accustomed to the look of an actor turned over the camera is loaded with ambiguity because it does not satisfy the viewer, creating an invisible boundary between visible. With this film, however, the field turns off the field since the actor who looks alongside what you are seeing, and the viewer then sees what he sees.
The structure is not so straightforward, however, because often the other side of the screen shows that contemporary events that are anticipating or near each other in a game of joints strengthened, particularly in the first part, by an assembly which is chasing its own.
I'm talking about the first part because the film is divided into two sections from the point of view diegetic.
them (better) set in Bolivia is concentrated on a subject very dear to the cinema, quell'adolescenza turbulent times shown. However, as anticipated, this movie believe it or not talk much about sex, rather highlights the dynamics that underlie the sexual act. The picture is of a society dominated by metaphorically billboard underwear in which counts only to fuck and where the dignity of a young girl is trampled by the ego of a contemporary who just wants to add a trophy to its board.
Sex is just sex, there is nothing before - at most one collision in the disco to mend his heart irreparably injured by his girlfriend - or even later because here are not love stories but stories. Sexuality is seen as competition, and in excellent scene sociologically significant as acceptance: so the pack forces the boy to go with a prostitute, although he denies her virginity need a tangible proof to the group. The
Part Two, situated in a slightly more adult forms part where the story of a gay model in America, lost power because of the aesthetic play begins to weigh down a little vision and some prejudices are formed because of the same type of football player latin lover gym equals equals equals homophobic companion. With a sort of "growing old" the film tackles a difficult subject like homosexuality combined with a gang rape - in which for the first time the screen is only (but with a reduced format) - can reserve a considerable surprise thanks to the assembly again, but in a different way, chases.
This double eye shows essentially depends on who is not sex, but who are unable to defend themselves from abusers. There are no winners, only victims. The expression of the characters that are repeated at the end there is the same for everyone, I just wet eyelashes, stunned silence, mouths that open to vomit. Nothing more.
Ultimately, a rarity that should not be and should not be underestimated. Bellot leave to others the task of teasing the audience believing that experience an exciting story will instead faced with an ambitious and partly successful. Much in part, I think.
Below is a part taken out of the final.
0 comments:
Post a Comment