Wonderful movie, for the crystal-clear directing, the long shots of Mexico City, and for the actors. Anapola Mushkadiz was such a revelation, but all actors are so natural and extremely well directed. A great movie about the human condition, especially the confusion that people can experience as their life got derailed by some of their choices, or when trying to make sense of the actions of other people around them.
Carlos Reygadas fulfills the promise he gave when he made Japon, announcing to world cinema he was a filmmaker to be reckoned with; here making a masterpiece that will age as well as any bottle of Pinot Noir dusting away in a decrepit French wine cellar. When I finished the film, I was reminded of the Tarkovsky quote, saying cinema should be about relating one person to the whole world. This film is that & then some.
I really love a lot of things about this film but I can't stand the shock tactics and the tropes. It feels as if Reygadas is talking down to the audience. This movie had the potential to be a top tier film if Reygadas had the confidence in his work to supplement the more crass, boring, and stereotypical aspects for more subtle ones. I found myself far too often rolling my eyes almost immediately after a great scene.
Overexposed in more ways than one. With washed out visuals and deliberately awful sound mixing, this is an extremely difficult film to watch. However, it never comes together in a way that allows for thematic clarity so ends up feeling like empty provocation. Notable for unusually sexualised bodies (opening inspired similar in Ford's Nocturnal Animals?), less notable for infuriating ending which leaves bitter taste.
It is evident in almost every respect that Battle is intended to be an unpleasant and difficult work - an image-maker of extreme beauty who here washes out almost every image in light or darkness, making the moral dilemma visual. My main issue is this contrast is repeated in almost every scene to point of nausea. That the sublime will always be interrupted by blasphemy is rendered effective and disturbingly.
This was one of my favorite films I have watched on MUBI. The story was about a man and his wife that kidnapped a child. The man began to lose his mind when the child they took ended up actually dying. He tries to force himself to turn himself into the police, but he instead stabs the woman. This movie was full of suspense and I would recommend seeing this. The plot was intriguing and it was full of avid scenes.
An unabashed masculine energy visually and aurally meditates on its innate primality. The direction is exciting, the locations captured with ardor and nuance. I love how scenes pan over to nature, listen to the wind, feel the sun on the lens. Naked as the truth. Oblique rumination of man's incarnations. The latter blowjob reveals a true monster. I would've voted this Cannes Best Director over Haneke (Caché, 2005).
Una sequenza ininterrotta di scene simboliche e concrete. Frammenti di una società dissociata: un disco incrinato che continua a marciare; una campana che ha perduto "la parola"; una città di sentimenti distorti; una discarica nella quale gli ultimi esseri umani capaci di sudare e sanguinare rovistano alla ricerca di un scarto, di un pezzo di felicità da consumare crudo; una fellatio in questa prigione di cielo.
Tequila vitriol cocktail. Mexico = crime + foot + religion. Too long, endless static shots & fat bodies. This abject affair of a stupid driver with a borderline Lolita gives nausea, incl. blowjobs === Cocktail tequila vitriol. Mexique = crime + foot + religion. Trop de plans statiques, de corps adipeux. Cette histoire abjecte d'un chauffeur stupide avec une Lolita borderline donne la nausée, y compris les fellations.
Reygadas con esta pelicula asienta varios temas controversiales en la metrópolis de la ciudad de México, sin embargo, como todos sabemos la narrativa de Reygadas es ambigua y el contexto que nos coloca no nos deja apreciar realmente los temas que tocan. Sin embargo, vale la pena echar una mirada ya que Reygadas se desataca nuevamente como el director con el discurso original, sin pretenciones y pasional.