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A SEDUCIÓN [Sofia Coppola, 2017] 277 A SEDUCIÓN [Sofia Coppola, 2017] 277 ESTREA EN NUMAX: 25.08.2017 | V.O.S.E. | +12 The Beguiled (2017, 91’) filmografía sinopse Dirección: Sofia Coppola A Very Murray Christmas, 2015 [TV] Un soldado confederado resulta Guión: Sofia Coppola (Novela: Thomas Cullinan) The Bling Ring, 2013 ferido de gravidade durante a guerra Elenco: Colin Farrell, Elle Fanning, Nicole Kidman, Somewhere, 2010 civil estadounidense, pero tras ser Kirsten Dunst, Angourie Rice, Oona Laurence, Addison Riecke, María Antonieta, 2006 encontrado por unha moza é acollido Wayne Pére, Emma Howard, Matt Story Lost in Translation, 2003 e protexido na escola feminina na que Son: Richard Beggs Las vírgenes suicidas, 1999 estuda. Alí recuperarase a medida que Montaxe: Sarah Flack Lick the Star, 1998 [curtametraxe] seduce ás mulleres do lugar. Aínda Fotografía: Philippe Le Sourd Dirección de arte: Jennifer Dehghan que, tras un terríbel accidente, a súa Vestiario: Stacey Battat premios e festivais situación hase complicar, modificando Produtoras: American Zoetrope, Cannes 2017 (mellor dirección) a súa actitude. FR Productions (Estados Unidos) Distribuidora: Universal Formato de proxección: DCP2K, 1.66:1 Idioma orixinal: Inglés, francés «O filme de Coppola é un prodixio de sutileza, visualidade e lírica bélica» Oti Rodríguez Marchante, ABC A SEDUCIÓN [Sofia Coppola, 2017] «Pensei moito en acolledor. Tamén pensei moito en como No filme de 1971 hai unha certa mística situar a historia do filme nos parámetros ao seu redor namentres ca no teu como situar o filme do Gótico Sureño. semella que queres amosar de maneira nos parámetros precisa como interactúan, tentando Como te situaches nese Gótico expresar complexas intencións. Coido do Gótico Sureño» Sureño? Construímos esa atmosfera que o que sucede é que no filme de Siegel tan peculiar a través das portas, as Entrevista con Sofia Coppola o punto de vista é o do home. O soldado candieirias, as rapazas en camisón e os Por Nicolas Rapold chega e é como unha fantasía que se volve ángulos de cámara. Para a última parte do pesadelo. Na nosa versión conectamos co filme a fotografía é máis escura, nocturna, punto de vista dos personaxes femininos. coa luz das candeas. Non son tan misteriosas, son máis Teño curiosidade polas fontes Como traballaches a túa propia humanas, e teñen que debaterse entre o seu artísticas que inspiraron o teu ollada cara ao Sur? É un espazo que a deber e os seus propios desexos. El é máis pensamento neste filme. Reparaches xente adoita asociar no plano visual misterioso. A outra cara da mesma historia. na fotografía de William Eggleston, con Lo que el viento se llevó (Victor por unha banda, non si? Puxemos Sempre es moi coidadosa coa escolla Fleming, George Cukor, Sam Wood, moitas referencias en común. Procurei musical, como foi neste caso? Cando 1939). Precisamente parte das miñas inspiracións de todo tipo e traballei arreo estabamos a montar sentín que a música primeiras impresións sobre o Sur veñen coa deseñadora de produción, Anne non debía inmiscirse nos momentos dese filme. As escenas das mozas atando Ross. Vimos filmes, fotografías e retratos de maior tensión, pois tiñan máis forza os corsés proceden doutros filmes sobre da Guerra Civil, moitos de mulleres e sen ela. Daquela construín unha banda a Guerra Civil. Cando comecei a escribir nenos e si, a William Eggleston, para a sonora mínima composta polos sons o filme tiña unha idea previa do que ambientación e a cor. Ese é sempre o da natureza e o ruído dos canóns na quería expresar. Lembraba un pouco punto de partida antes de decidir como distancia. A idea era xerar unha certa a Las vírgenes suicidas (Sofia Coppola, imos contar unha historia. tensión de fondo no canto de introducir 1999), así que pensei en situalas coas súas música con obxectivos máis evidentes. Xuntas e compartes esas imaxes vestimentas pastel destinguidas, pois co equipo? Si, desta volta fixemos foron lavadas unha chea de veces. Son Cando liches o libro de Cullinan, unha pequena edición de imaxes. rapazas desconectadas do mundo que que imaxes che viñeron á mente que Muro de inspiración é como se lle nunca tiveron case nada. non se atopaban no filme de 1971? chama agora. Fotografías de referencia O libro achegoume máis información En canto ao personaxe masculino, que poderían suxerir ideas para os planos, dos personaxes, a través dos diálogos. é interesante a presenza de Colin ou simplemente para ollar a súa luz Axudoume a estruturar o marco da Farrell no papel do soldado que e paleta de cores. trama, mais a atmosfera e o ton viu interpretara Clint Eastwood en El das localizacións. Esas casas rodeadas Que estabas a procurar en termos de seductor (Don Siegel, 1971). Coido que de carballos e cubertas de carriza, e luz e cor? Quería unha fotografía que o desexo se atopa máis presente en a idea das mulleres coas vestimentas suxerise o mundo lene e feminino destas Farrel ca nun actor como Eastwood. É destinguidas. A idea das mozas con mulleres. Logo temos o contraste coa interesante. No caso do filme de Siegel, vestidos claras viume de filmes como dureza do home, un soldado que vén da Eastwood é un tipo duro, temos a voz en Picnic en Hanging Rock (Peter Weir, 1975) guerra. Deste xeito, cando a historia dá un off, os flashbacks. No noso é algo máis xiro coido que a sorpresa é maior porque misterioso, ou cando menos non temos a Publicado en www.filmcomment.com/ estabamos instalados nun mundo moi certeza da súa natureza. Tradución: Xan Gómez Viñas na libraría numax The Beguiled, Thomas Cullinan. PenguinBooks, 2017 Portraits, William Eggleston. La Fábrica, 2016 El seductor, Don Siegel. Universal [DVD] Las vírgenes suicidas, Sofia Coppola. Divisa [BluRay & DVD] Lost in Translation, Sofia Coppola. Paramount [DVD] Somewhere, Sofia Coppola. Savor [DVD] The Bling Ring, Sofia Coppola. Vértigo [DVD] NUMAX, S. Coop. Galega Concepción Arenal, 9 baixo 15702 Santiago de Compostela telf 981 560 250 | www.numax.org .
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