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Obra Cremosamente Sensual, Esplendidamente

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Obra Cremosamente Sensual, Esplendidamente CAROL [Todd Haynes, 2015] 82 estrea en numax: 05.02.2016 | v.o.s.e. ficha técnica festivais e premios sinopse Carol (2015, 118’) Oscar 2016, nominado á mellor actriz Nova York, principios dos anos Dirección: Todd Haynes principal (Cate Blanchett), mellor cincuenta. É Nadal e Therese Belivet Guión: Phyllis Nagy, Patricia Highsmith (novela) actriz de reparto (Rooney Mara), é unha moza sen moitos recursos Reparto: Cate Blanchett, Rooney Mara, Sarah Paulson, Kyle mellor guión e adaptación (Phyllis que traballa temporalmente nunha Chandler, Jake Lacy, Cory Michael Smith, Carrie Brownstein, Nagy), mellor fotografía (Edward xoguetería de Manhattan. Ten un John Magard, Kevin Crowley Lachman), mellor vestiario (Sandy mozo, Richard, ao que realmente non Montaxe: Affonso Gonçalves Powell), mellor banda sonora orixinal quere e que a pasea en bicicleta. Todo Dirección de arte: Jesse Rosenthal (Carter Burwell). Cannes 2015, cambia cando aparece na súa vida Son: Nigel Maxwell gañador á mellor actriz (Rooney Carol Aird, unha distinguida muller de Música: Carter Burwell Mara) e a Palma Queer. Chicago clase alta que permanece á sombra do Fotografía: Edward Lachman International Film Festival 2015, Vestiario: Sandy Powell gañador ao mellor filme. seu marido co que ten unha filla e un Produtora: Film4, Number 9 Films (Reino Unido), matrimonio que aborrece. Killer Films (eeuu) Distribuidora: Vertigo Films filmografía «Obra cremosamente sensual, Formato de proxección: dcp 4k, 1.85:1 I’m Not There, 2007 esplendidamente observada, Lejos del cielo, 2002 Safe, 1995 xenerosamente detallada Veneno, 1991 e amoblada. Entrei en trance Superstar: The Karen véndoa e aínda non saín Carpenter Story, 1987 de todo del» Peter Bradshaw, the guardian CAROL [Todd Haynes, 2015] materiais Entrevista a Todd Haynes namorado podes ler cada sinal, cada na nosa libraría xesto. Lírica urbana. Helen Levitt Por Ryan Gilbey La Fábrica, 2010 Carol. Patricia Highsmith Os amantes son sempre os mellores Anagrama, 1997 estudantes. Exacto. Todo está aí para Carol. Patricia Highsmith ser decodificado. O caso é que nunca Bloomsbury, 2010 vas obter unha resposta. Empréndese El discurso amoroso. Roland Barthes Estivo vostede moi atento á hora de a búsqueda mais non se atopa nada. Paidós, 2015 roubar de Breve encuentro o comezo Breve encuentro. David Lean Atópaste nesa «imaxe-repertorio», Filmax [dvd] para Carol, onde a parella principal como el di, no que vas de signo en signo é vista en público por un personaxe devecendo pola verdade. Barthes di que menor. Si, sempre estou atento para toda persoa que busca a verdade está roubar calquera cousa (...). Breve destinado a non atopala co cal se atopa encuentro veume á cabeza cando lin o nun perpetuo estado de lectura. E hai guión. O libro e o primeiro borrador unha dramatización de todo elemento eran completamente lineais pero que é poderosamente evocada neste déronme en pensar sobre o punto de libro. Encántame. Eu suxiro un abismo vista —e isto desencadeou unha serie de inherente entre suxeito e obxecto. cuestións en min—. Coido que a historia Iso é algo no que pensamos cando de amor en Carol pode distinguirse do ollamos o filme. melodrama clásico que asociamos con Douglas Sirk pola cuestión do punto Gus van Sant dixo que fai mellores de vista. A identificación non ten peso filmes baixo Administracións máis no melodrama sirkiano, no que se nos hostís. Opina vostede o mesmo? Si, substrae a perspectiva privilexiada dun seguramente. Esa é unha das razóns que personaxe concreto e ollamos as forzas me levou coma cineasta por camiños que sociais exercendo delas propia. non podía sospeitar nun inicio e púxome en contacto con xente coma Gus, que Somos deuses ollando cara a abaixo. fomos etiquetados como o Novo Cinema Si, e iso é lixeiramente brechtiano. Queer. Non sinto esa etiqueta como algo Ao ollarmos as forzas sociais a actuar pexorativo pois aquel era un momento accedemos a unha ollada crítica que de urxencia, dunha toma de posición podemos aplicar ás nosas vidas. Esa é necesaria que hoxe en día xa non o é unha das moitas leccións que Fassbinder tanto. Se cadra o interese comercial nos tomou de Sirk. Mais Carol é realmente gays e lesbianas como consumidores diferente e iso gústame porque non é axuda a explicar por que, en cambio, algo que teña feito antes. Gústame como a cuestión racial segue sen resolverse. Highsmith expresa radicalmente o Representan un sector económico punto de vista da amante nesa caste de diferente que non se atopa protexido túnel do amor, cortando coa sociedade polo consumo e o modelo capitalista (...) e coa cultura. Hai aí reminiscencias dos Creo que a lóxica empresarial está a se suxeitos criminais das novelas negras e introducir en todos os aspectos das nosas ese nexo que de súpeto agroma ente o vidas, que os nosos iPhones teñen máis crime e o amor. E este amor é criminal significado do que deberan. Sinto se soa en moitos sentidos ao atoparse fóra da desfasado mais coido que está a mudar lei e fóra da representación. Therese a maneira en que nos relacionamos cos nun principio non ten sintaxe para ela, seres humanos pois é demasiado doado para definir o que lle está a pasar, non hai distraernos. E son tan vítima diso coma linguaxe que a represente. calquera. Non me gusta como está a Un cinema, afectar ao meu proceso creativo. Mudou unha libraría Carol di que Therese semella ter a maneira en que penso e me mergullo e un laboratorio sido guindada desde o espazo. nas cousas. Absolutamente. Hai literalmente unha de gráfica e vídeo liña no libro: «Podería ter sido case como o amor o que ela sentiu por Carol, se Publicado en Sight&Sound, decembro de 2015 non fora porque Carol era unha muller». Tradución: Xan Gómez Viñas Non había maneira de que eses termos puidesen cohabitar. Rolan Barthes fala disto dun xeito marabilloso en El NUMAX, S. Coop. Galega discurso amoroso, e iso é algo sobre o Concepción Arenal, 9 baixo que volvo a cada pouco. Cando estas 15702 Santiago de Compostela telf 981 560 250 | www.numax.org .
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