Sebastian Morales Escoffier
are films that should be seen in a movie theater and not just watching television, a DVD. They are films that, by the use of silence, waiting and a particular use of the images, consolidate a unique cinematic language, and therefore must be seen in the conditions under which these films were conceived. This goes beyond fruitless discussion of the advantages and disadvantages that could bring on celluloid film or digital, is a language rather than a format, trying to find a special pleasure in the film that has much to do with the beautiful ritual that is to enter a dark room to meet the scopic pleasure. This is the case of the third (and usually all) the film by Jaime Rosales: kick in the head.
is easy to find the elements that make the film a fact Rosales film itself and therefore the justification for viewing in a movie theater. The movie is filmed with huge telephoto lenses, which according to Rosales himself, are normally used to capture images of animals over long distances. This distance is not only the use of the camera, but there is also a physical distance, which is evident in the fact that we can not listen to the characters, we see lips moving, but do not listen, we are spies, meddling in the life of a subject, which seems ordinary. We are in the film and there alone, and alone with this film, like that character in Hitchcock's Rear Window, look, we plot a story that is presented as ambiguous, without really mulling participation in the film, still surrounded of darkness.
The fact that this film is the film Rosales, making it very difficult to make a summary or a description sufficient to do justice to the film, because it is translated (which always involves a betrayal) from one language to another. I could say what was already assumed by the title, this is an act of violence, or rather, as specified by the director, of a terrorist group ETA in Spain. But the film, its cinematic power, does that thing that gives structure to the film, his unit, ceases to be the most important, leading the viewer to delight in small details that are visible, some body's knowing look particular character or way of working the sound. Are just in these details where it appears the magic of cinema.
are films that should be seen in a movie theater and not just watching television, a DVD. They are films that, by the use of silence, waiting and a particular use of the images, consolidate a unique cinematic language, and therefore must be seen in the conditions under which these films were conceived. This goes beyond fruitless discussion of the advantages and disadvantages that could bring on celluloid film or digital, is a language rather than a format, trying to find a special pleasure in the film that has much to do with the beautiful ritual that is to enter a dark room to meet the scopic pleasure. This is the case of the third (and usually all) the film by Jaime Rosales: kick in the head.
is easy to find the elements that make the film a fact Rosales film itself and therefore the justification for viewing in a movie theater. The movie is filmed with huge telephoto lenses, which according to Rosales himself, are normally used to capture images of animals over long distances. This distance is not only the use of the camera, but there is also a physical distance, which is evident in the fact that we can not listen to the characters, we see lips moving, but do not listen, we are spies, meddling in the life of a subject, which seems ordinary. We are in the film and there alone, and alone with this film, like that character in Hitchcock's Rear Window, look, we plot a story that is presented as ambiguous, without really mulling participation in the film, still surrounded of darkness.
The fact that this film is the film Rosales, making it very difficult to make a summary or a description sufficient to do justice to the film, because it is translated (which always involves a betrayal) from one language to another. I could say what was already assumed by the title, this is an act of violence, or rather, as specified by the director, of a terrorist group ETA in Spain. But the film, its cinematic power, does that thing that gives structure to the film, his unit, ceases to be the most important, leading the viewer to delight in small details that are visible, some body's knowing look particular character or way of working the sound. Are just in these details where it appears the magic of cinema.