Penelope Cruz and Antonio Banderas devour art house in frantically funny ‘official contest’

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If there’s one common denominator in what plagues serious-minded low-budget filmmakers, it seems to be the issue of resources – there’s never enough money, there’s never enough time, and they always chase those two things like a cartoon character chasing a burning fuse. On a stick of dynamite. So what would happen if both of these problems were solved there he is, erased much like nothingness? Like, say what if an angel invested in the form of a less artful billionaire at the end of his life decides to suddenly dump unlimited funding toward the prospect of leaving something mysteriously meaningless behind – something in movie form? This is a ridiculous proposal delicious in the heart official competitionArgentine director Mariano Cohn and Gaston Dubrat’s very hilarious satire of the international art house scene – think of it as Square for a cinematographer, but only if you immediately shove yourself into your ribs when in contact with something, ”Square for cinema.

Humberto Suárez (José Luis Gómez), the less artistic billionaire in question, first thinks of building a bridge to slap it in his name, speaking of legacy. But a second later, with no rhyme at all, he decided no – it should be a movie instead! Humberto doesn’t seem to know anything about movies, or care anything about movies – you can probably see some kind of flashes of celebrity flattery appear in his eyes as he stares into space at that moment, if you stare hard enough, but it can It is likely gas.

In any case, newly intrigued by his sudden push, Humberto asks his personal assistant to find only the “best” – find him the “best” director, and find him the more serious “best”. Just find it the best of everything, whatever the hell that means. If his personal assistant was a big fan of Adam Sandler, we’d be in a completely different movie! But avant-garde Palme d’Or-winning director Lola Cuevas (the absolutely hilarious Penelope Cruz), whose previous credits include a trilogy of seemingly perfect nonsense films, wasn’t the first thing he thought of. fogAnd the VoidAnd my personal favourite inverted rain. However, it’s not too surprising that this woman makes an unforgettable mark once we see the sheer shadow she casts in any room, and I don’t mean just poetry-wise. But perhaps we should start with this hair – red curls piled up like a lion’s mane so close to an electrified fence, and that hair seems to grow more and more from one scene to the next; By the end of the movie, it’s almost become a two-legged wig. Cousin It for the Volpi Cup collection. It really is the gag that keeps on giving.

Humberto & Co got it done and bought it, then dropped another pile of cash for the rights to a Nobel Prize-winning book that no one had read except for Lula herself, though Cliff’s Notes version of the two rival brothers she quickly summarizes is so hilariously indifferent to detail that That we were left to wonder if she had read it too. Lola’s fascination seems more directed toward her gimmick of the brothers at the center of the story—she wants them to be played by two equal but opposing cultural forces. Didn’t waste any money! One of them will be played by an international movie star named Felix Rivero official competition Starring international movie star Antonio Banderas, he had an absolute blast with his wayward stabs in Hollywood and no doubt the many movie stars he met along the way. The other brother will be played by a serious and well-respected theater actor named Evan Torres, who is played by the serious realist Oscar Martinez. By chance, Martinez won the Volpi Cup for Best Actor in Venice for the 2016 movie called Distinguished Citizen, which was also directed by the same directors here. This is a movie that has its own self-referencing stabs! it’s a shout 3 cineaste set! (Ok, I’ll now stop saying “cineaste.”)

Thus, the war between art and commerce is gaining splendid heads, and from there to abroad official competition Nothing stops him from constantly mocking the gigantic granitic peacock at each end. Lola demands an extended period of training, and Humberto gives the unrestricted trio to the gigantic and hilarious Gehry-esque Convention Center where they can do it. Reminiscent of Bertolucci’s pure architectural spaces compliant– just out of any sense of date, time, place, and meaning – we then watch Lola, Felix, and Evan trying to squeeze into the intimacy required to make this fraternal bond feel real, all while yelling at each other from opposite ends of an airplane hangar. The endless resources soon turn into a comic abyss from which no true art can escape. Quicksand is like a money pit from anything that goes into endless possibility, and it seems in turn impossible for any movie to be born out of these absurd circumstances. And that’s even before you break Lola’s wood chipper.

Indeed, the absurd intimacy of the filmmaking process seems to be the hardest and most violent focus of Cohn and Dobrat’s goal — that is, anything that comes from throwing heaps of emotionally stunted, egotistical narcissists into each other’s difficult orbits for weeks and then asking them to reveal their deepest selves from Cinematic Immortality is in itself a special kind of freaky outgoing clown. One that sometimes pays off, but often ends up in disaster. Religious, emotional and violent gibberish disaster. Given the entire world we play with, it seems plausible, like the insult spoken in a zigzag vacuum tube, that this shit will only come back to bite us in the ass in the end. Luckily official competition Makes all of that a naughty snack.


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Image sources (in order of submission): IFC movies,

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