Mary Carmen Molina
"What to do in a world where some men, a few, are shamelessly rich and desperately poor majority? What to do with the terror which is isolated behind a wall and with the frustration of living on the other side? " According to Rodrigo Plá , these and other questions are the starting point for understanding the warning that we would Zone, his first feature, in which residents of a Mexican neoghetto enclosed by walls and undertake surveillance cameras the hunt for a thief to 16 years enclosed in the area since the night he assaulted, along with two young men, a house in this residential neighborhood.
things, some say, should be observed. The Zone knows this better than us and they would say, with more suspicion than those who are out there. Systematic security outside a collective paranoia that warrants monitoring as the only method for a living, say, happy. Outside the area where the public is not (also) the private and where being poor means, necessarily, be invisible. Inside the ghetto, where everything is because everything is filmed, the Zone has killed two assailants who went through the wall during a stormy night, have hidden their bodies, prevent the intervention of police and patrol their own streets in search of a thief who can not get back across the border. "It's nothing personal," say the armed neighbors.
Plá film takes the space where rigorous tests the loss of privacy and it folds into a discussion about the borders. The first: that between rich and poor separated by a wall and linked by the same border and violence in the eyes of those who watch. The film deals to leave for the whole plot traces a gesture of documentation of monitoring, through which all are subject to movement of a camera inquisitor who plays the certainty that you can see it all: there is, ideally, blind spots that can not be recorded. This desire to see care and limit the freedom of those who move through the streets of the ghetto, extends even to the basement of Alejandro (Daniel Tovar), the 15 year old boy whose parents have given him a camera digital on his birthday. The image in this space, becomes proof of crossing the border and only a missing document.
The other frontier where Zone moves is that of good and evil. Although Plá care that the characters do not end up doing the faces of sides in the debate, the film plays with the only two possible extremes encountered: the good cop wants discover what really happened in the area does not mean the bad cop (which is the same) potatoes download your frustration about the mother of the thief disappeared. The film loses even more subtlety where everything seems to be determined by the vengeance of Daniel (Daniel Giménez Cacho), one of the representatives of the Area neighborhood, who prefers to take justice into their own hands (and live in an autonomous militia ghetto) Since Police were one of the culprits in the death of his brother years ago.
The film, despite some concessions to the caricature of the characters, boasts an impeccable cinematography, where the sinister view photo of blank, flawless and the music and sound build the atmosphere of paranoia in which the characters move. And if ambitions to discover the certainty of a near future in urban societies, the film leaves only one question: Is it possible to see everything in the picture?
"What to do in a world where some men, a few, are shamelessly rich and desperately poor majority? What to do with the terror which is isolated behind a wall and with the frustration of living on the other side? " According to Rodrigo Plá , these and other questions are the starting point for understanding the warning that we would Zone, his first feature, in which residents of a Mexican neoghetto enclosed by walls and undertake surveillance cameras the hunt for a thief to 16 years enclosed in the area since the night he assaulted, along with two young men, a house in this residential neighborhood.
things, some say, should be observed. The Zone knows this better than us and they would say, with more suspicion than those who are out there. Systematic security outside a collective paranoia that warrants monitoring as the only method for a living, say, happy. Outside the area where the public is not (also) the private and where being poor means, necessarily, be invisible. Inside the ghetto, where everything is because everything is filmed, the Zone has killed two assailants who went through the wall during a stormy night, have hidden their bodies, prevent the intervention of police and patrol their own streets in search of a thief who can not get back across the border. "It's nothing personal," say the armed neighbors.
Plá film takes the space where rigorous tests the loss of privacy and it folds into a discussion about the borders. The first: that between rich and poor separated by a wall and linked by the same border and violence in the eyes of those who watch. The film deals to leave for the whole plot traces a gesture of documentation of monitoring, through which all are subject to movement of a camera inquisitor who plays the certainty that you can see it all: there is, ideally, blind spots that can not be recorded. This desire to see care and limit the freedom of those who move through the streets of the ghetto, extends even to the basement of Alejandro (Daniel Tovar), the 15 year old boy whose parents have given him a camera digital on his birthday. The image in this space, becomes proof of crossing the border and only a missing document.
The other frontier where Zone moves is that of good and evil. Although Plá care that the characters do not end up doing the faces of sides in the debate, the film plays with the only two possible extremes encountered: the good cop wants discover what really happened in the area does not mean the bad cop (which is the same) potatoes download your frustration about the mother of the thief disappeared. The film loses even more subtlety where everything seems to be determined by the vengeance of Daniel (Daniel Giménez Cacho), one of the representatives of the Area neighborhood, who prefers to take justice into their own hands (and live in an autonomous militia ghetto) Since Police were one of the culprits in the death of his brother years ago.
The film, despite some concessions to the caricature of the characters, boasts an impeccable cinematography, where the sinister view photo of blank, flawless and the music and sound build the atmosphere of paranoia in which the characters move. And if ambitions to discover the certainty of a near future in urban societies, the film leaves only one question: Is it possible to see everything in the picture?
This is a content:
0 comments:
Post a Comment