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YOU AIN'T SEEN NOTHIN' YET

Alain Resnais Francia, 2012
You Ain't Seen Nothin' Yet's very title is a kind of dare against mortality, or a thumbing of the nose at its supposed finality... Unlike theatre, cinema is always a resurrected past, an image embalmed in pixels, "death at work." Is this maudlin? Not really; true to his puckish nature, Resnais got his "last film" out of the way so he could keep making movies. He'll bury us all.
febrero 1, 2014
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If the film has any proclamations to deliver, it's the idea of every role as a repository for the dreams and desires of all those who've inhabited it before, and every performed work as a grand collusion of so many combined passions, both historical and immediate. The same is true for the cinema, and Resnais' latest functions as another monument to its endless vitality, a reminder that even the oldest of directors can come up with something breathlessly new.
junio 10, 2013
Ultimately, the film reveals itself to be a portrait of people who have been fundamentally altered by their decades of involvement in performance, if not by specific narrative details then at least by the emotional and thematic undertones of the work to which they've given themselves. If this does wind up being Resnais's farewell—and let's hope it doesn't—it's a fittingly substantial and wise one.
junio 7, 2013
Like Matías Piñeiro's superb Viola and the Taviani brothers' flawed but compelling Caesar Must Die, You Ain't Seen Nothin' Yet revitalizes the project of theatrical adaptation by making the act of line-reading and performance itself the subject of the film. The result both elucidates a classical text and, more significantly, contemporizes it for the modern cinema.
junio 7, 2013
There's real pain in the material, plus the occasional gnomic one-liner. ("One mustn't believe too much in happiness," one says, almost as a joke.) But the tone isn't one of heaviness. It's charming, light, vaguely goofy.
junio 6, 2013
Like many later Resnais movies, it has a goofy, anything-goes atmosphere, rich with out-of-nowhere gags and eccentric formal decisions. The opening credits suggest a swords-and-sandals epic... while the first few scenes play like something out of an early talkie, complete with a grand staircase, an all-dissolve telephone montage, and title cards. The MIDI score—by The X-Files' Mark Snow, who has also scored Resnais' previous two films—further contributes to the movie's oddball vibe.
junio 6, 2013
Fittingly, it's the oldest couple — Arditi and Azéma — who give the most vivid picture of reckless youth. The movie's title echoes Al Jolson's line at the dawn of the sound era in "The Jazz Singer"; it evokes a world of possibility for what this director and his actors can still do.
junio 6, 2013
Though we're invited to see the artifice and craft of all three readings of "Eurydice" (as adapted by Resnais and screenwriter Laurent Herbiet from the works of Jean Anouilh), what elevates the film is a pervasive, palpable sense of loss—between lover and beloved, young and old, stage and screen. For Resnais, pretending isn't escaping; it's mining for the sadness and weirdness that pulsates beneath the surface of things.
junio 4, 2013
What, might well ask, is Resnais getting at in all of this? Clearly this is a film about his love of actors. As each of them does a bit from the play-within-the-film in a different style we witness an object lesson in what actors can do on both stage and screen.
junio 3, 2013
...Despite the predictably loquacious proceedings, and for all of Resnais and Anouilh's preoccupations with the incorporeal nature of consciousness and the passing of time, You Ain't Seen Nothin' Yet sees Resnais closely attuned to his players' physicality. Within the magical, hyper-dimensional space he's conjured, he orchestrates his actors' movements in a manner akin to contemporary dance...
marzo 21, 2013
The message, I think, is that the play will live on no matter who performs it. To perform Eurydice is to become part of a chain that's longer than your own lifespan... Anouilh's fatalistic text and Resnais's warm direction don't cancel each other out, but their combination inspires feelings that are pretty hard to nail down on a single viewing. Of all the movies I've seen so far this year, Nothin' is the first I feel I need to see again.
marzo 21, 2013
Resnais, perhaps recognizing at this stage of his life that everyone must eventually pass their respective torch, is now employing his art toward different ends. You Ain't Seen Nothin' Yet, then, is both ideological will and curatorial testament, seasoned admonition and self-styled tribute. And for Resnais, its function feels almost utilitarian, suggesting that this may indeed be just the start of a dazzling new chapter in a career that is consistently recalibrating.
octubre 3, 2012