Park City, Utah – Park City obtained an explosion to be able to star when Jennifer López arrived on January 26 to launch Bill condom's exciting adaptation from Tony's musical “Kiss of the Spider Woman.” López plays dual roles as a film actor and an Aracnoid goddess and went to the Sundance Film Festival premiering the power of both. Jeans and snow boots? Acceptable clothing for simple mortals. López wore a transparent dress and weels of cobwebs and heels. His glamor that challenges the weather was so dazzling that all in my transport service the next morning were talking about that, while I was also stunned that López's little -known co -star, Tonatiuh Monomonikered, somehow stole his part of the center of attention.
Sunday was created to launch talents such as Tonatiuh, a young actor from Los Angeles, who is fantastic as an prison inmate who documes his cell with posters of the Fantasy icon of López. He had seen his face once before at the bottom of the Netflix action movie “Carry-on.” Now, I will see a movie just because it is in it. This festival is where the stars are born, even if it has become more difficult for an independent film to be funded without at least a recognizable name.
That has always been a bit true. If a certain video employee in the store had not caused the producer's wife to pass a script to Harvey Keitel, “reservoir dogs” may not have secured the cash, cast or influence to premiere in Sundance In 1992. How different would Hollywood today Hollywood today? Look if no one had seen that vertiginous opening scene in which a crooks breakfast table debate to Madonna? How many potential tarantinos of Quentina never met her Keitel?
Tonatiuh, on the left, and Diego Luna in the movie “Kiss of the Spider Woman”.
(SWEETS INSTITUTE)
The Fandom is a word more associated with the box office successes of bright superheroes, but it was one of this year's festival lines. The film after film threw the fragile balance between Object and Admirer, the vital symbiosis between the artist and the audience, the vulnerability of knowing that any imposing race, even López's, could overthrow without anyone there to applaud. In “Kiss of the Spider Woman”, Tonatiuh functions as López's disciple and his defender. When his cynical cell companion (Diego Luna) suggests that López's character suffers from childhood trauma, Tonatiuh Gime, “Uugh, let her be.”
I worshiped “Spider -Women's kiss.” That left Sunday without distribution is a shock. At least “The ballad of the island of Wallis” by director James Griffiths, an important crowd silver, will be in theaters at the end of the following month. This is a socially uncomfortable lottery winner named Charles (Tim Key), a talk with the pattern of a Borscht Belt comic, which offers its favorite folk duo almost $ 1 million to play a meeting show. (The devotees of the “Taskmaster” British Game Program will recognize the key to season 1.) There is a trap: the concert is on a remote beach for a audience of one. Worse, bandmates, herb (Tom Basden) and Nell (Carey Mulligan), are former separated. Herb sold out and became famous; Nell renounced the business to sell artisanal jam. Neither of them can ignore a money checkpoint by its number 1 fanatic.
Herb passes most of the film frowning, since he suspects that Charles wants the duo to meet on stage and in bed. Finally, Herb breaks: “You are like a cutting gepetto,” he growls. However, every time Key's lonely widower drops her despair to have fun, there are years of pain on her face. Key, Basden and Griffiths have been trying to expand their original short -nominated for Bafta, “the only McGwyer grass plays Wallis Island,” for 18 years. The feature needed a star of the Mulligan scale to be done. I'm glad he did.
Carey Mulligan and Tom Basden in the movie “The Ballad of Wallis Island”.
(Alistair Heap / Sunday Institute)
That insult from Geppetto hung on my head when I sat for “Lurker”, another tense comedy about artists and fans. An underground musician (Archie Madekwe) risks his own rise to fame when an Instagram manipulative stalker (Théodore Pellerin) deceives his own future to the singer's rise. Tense, Incucho and Choke-on-Perso Anxiedio Divertidad, this first characteristic of Alex Russell, a writer about “beef” and “the bear”, was one of the most skilled delights of the festival, even if the film itself seems in the fence about whether he believes in talent or opportunism. For the most part, “Lurker” repeatedly touches the same song: the tinkling of the R&B ballad of the 1960s “i'm your tuping”. But every time you listen to it, someone else is pulling the strings.
“Opus” increases bets facing a mega -strella pop called Moretti (John Malkovich) against a magazine journalist, Ariel (Ayo Edibiri). A debut movie by former GQ Mark Anthony Green writer had a hint of ingenuity and insight, in addition to a surprising amount of sexual attraction from Malkovich. Even so, he did not take the moment to say much of anything. Does Moretti begin to knock out the colleagues of Ariel because they are too gift or not sufficiently Sevion? The film opened strong, but he felt like a tribute band that exists just because they came up with Punny's perfect name. (Not you, Mac Sabbath hamburgers theme, you are perfect).
There is more death and saxophones in “Rains Over Babel” by Gala del Sol, a mythological fantasy set in a Colombian nightclub that functions as a portal for heaven (and hell). A song of the plot follows the son of the owner of the bar (José Mojica) and a lucky player (Celina Biurrun) on a dangerous mission to rescue the most popular jazz band leader in the city (Jacobo Velez) from a maze of a maze of Minotes dressed in bondage mask. Meanwhile, back on the dance floor, a diva called La Flaca (Saray Rebolledo) has the power to control death itself. A victim of drug overdose with vomorous docks refuses to accept that this is his last game.
It is a large number of films, even without the stunned lizard that speaks or the drag artist (William Hurtado) that disobeys his father Pastor by pulling an enlightened Afro wig and patting on stage to kill. The film, a sequin hat on a hat, can feel a bit overloaded by literary allusions. (There is a character named Dante). Even so, from costumes to makeup to ambition, the dazzling dazzling is impressive.
In “The Virgin of Quarry Lake” of Argentine filmmaker Laura Casabé, a name-dopper encourages violence that is only adjacent to the celebrity. This teenage nightmare looking scary supernatural becomes creepy when a social climber named Silvia (Fernanda Echevarría) meets in a small clique and claims to have all kinds of famous friends. Silvia's fanfare wins the attention of a rumnate called Diego (Agustín Sosa), and the wrath of local beauty Natalia (Dolores Oliverio), who has always believed that Diego was his. Imagine “Carrie” with a spoiled girl.
Set in 2001, the film passes in the cybercafés that are only entering popular use. However, there is already the feeling that this new millennium is collapsing. Electricity will not remain on, the water is permanently off, the blood stain in front of Natalia's house becomes bigger every day. If you don't like Gore, I would close your eyes for the blow that takes place during the first five minutes. The movie ends in a hurry, simply dropping the microphone and running. However, before doing so, “Quarry Lake” is confident and exciting.
The most fatal story of the hero's worship was the semi-autobiographical “Jimpa” of Sophie Hyde, an endearing family drama about an iconic Gay Rights activist, Jim (John Lithgow), and her non-binary frances (Aud Mason-Hyde), whom he affectionately calls his “great.” Jim lives in Amsterdam; Frances grew up in Australia with his mother, Hannah (Olivia Colman), who was left behind when his father set out to be his most true being.
The film begins with Frances and Hannah Rhapsodizing on Jim from a distance, saying all the things that you should say about the marginalized people who have lived their lives with courage. They leave aside that Jim is also selfish, of closed and squamous mind: a conversational tyrant that controls the volume of each chat. Frances simply doesn't know him so well. Mason-Hyde, the director's son, is a natural artist, while Hannah de Colman has decades of experience suppressing his resentments. Interpreting a filmmaker based on Hyde, he says that it is possible to make a film that celebrates the life of his iconic father without any conflict.
For Hyde's credit, his script moves away from sentimentality as much as in Zigza. Things crawl a little in the last stretch of “Jimpa”, but it is believed that an edifying sermon is not a way of honoring its idol. That kind of fanboy discourse closes difficult questions. Good films ask them.
