CULTURE

The spells and omens return to be the main dish of a new cinematic proposal, this time produced four-handed by Guillermo del Toro and Alfonso Cuarón, who for a long time wanted to make a more attached adaptation to literature. The Witches (2020), directed by Robert Zemeckis and also written by him and Kenya Barris, is more of amusing and creepy time than a balanced ensemble. However, it works as a film for the whole family.

About the death of film critic and filmmaker Enrique Colina, we share the following article by Daniel Céspedes. The author evokes it from his defunct space 24 x Second, where Colina shared with the viewer his opinion, although he almost never got used to admitting whether a film was bad or good. “He was a critic committed to his professional ethics, respectful of the work of others, amparator of intellectual closeness. He didn’t impose a criterion. With maturity before the cameras, he would stop expressing whether or not the material chosen for the occasion was to his liking. I just didn’t have to reveal it. His analyses were notorious about it.”

The Cuban feature film “Inocencia” received the SIGNIS (World Catholic Association for Communication) Award at the twentieth edition of the International Film Festival in Santa Cruz, Bolivia, (Fenavid 2020).

Today’s proposal delves into two female figures brought to the screenplay. Kristen Stewart is Jean Seberg in “Seberg” (Benedict Andrews, 2019) and Tilda Cobham-Hervey is Helen Reddy in ‘I Am a Woman’ (Unjoo Moon, 2019). The American actress and the Australian singer, respectively, were important references for audiences and mass culture in different stages and eras. These films allow the first contact with the figures they are dealing with and the context in which each of them unfolded. Thanks to soundtracks, screenings, plots and well-connected plots, we attend, in times of constant biographical films, two revealing works: one of the expected decline and the other of the stimulating ascent.

Based on Donald Ray Pollock’s novel of the same name, published in 2011, Antonio Campos’ film adaptation “The Devil at All Hours,” narrated by Ray Pollock himself, deserves to be summed up as a story about harmonious coexistence by deprivation. American writer, screenwriter, and film director Paul Auster would say, “Because if you can rescue things from the edge of absence, there’s a chance of giving them back to men by doing so.” This means that the possibility of hope is believed. But an inclusive hope, without the delusions of certain cultural beliefs.

Troy Hall and Lee Karaim have written the superb screenplay for Peel (2019), a simple and beautiful film directed by Rafael Monserrate and starring Emile Hirsch. The undisputed pillar is a very pleasant script that guarantees justified occurrences, with which one laughs more than he cries.

The complicated and troubling movie and childhood duet deals with HBO’s new documentary film “The Kids of Hollywood.” It is not the first time that the presence of children in cinema has been the subject of other materials, but now we are offered an audiovisual well focused on the event. From how the casting process in Hollywood works for infants to the impact of being bewitched, to the letter, by the siren chants of America’s film industries.

The story of Denys San Jorge was complicated one day by waking up with the news that as a result of a reckless social attitude, the Covid-19 put its terroir in check and quarantine. If St. George was moved earlier, to the point of dedicating his homage to cities of the middle world, he was now twice moved, for the disease had been planted clearly among the people who, throughout a lifetime, shared with him a common space of deprivation and hope. He didn’t wait too long for the artist. Bauta would also have his name “written” with washers, tweezers and keys.

Producer and director Ian Bonhate and screenwriter Peter Ettedgui do very well. After their excellent “McQueen” (2018), a biographical documentary about famed and influential big-screen idol Steve McQueen, they both rejoin and surprise with “Rising Phoenix. History of Paralympic Games”, material that already integrates the catalog of the impetuous Netflix.

Erdwin Vichot does not support half inks. It’s facing the storms. For him, perfection in executing his instrument is a task he cultivates with patience, respect and goldsmith virtuosity, whether when faced with a performance in a library, a church or an art gallery, which when commanded by the baton of the teacher Leo Brouwer in a concert of high harmonic complexity. Under these principles lives this virtuous, man of Christian faith, who on more than one occasion has referred me to various musical allusions within the Bible concerning the laus and other instruments of familiar closeness to it.