Read Ebook {PDF EPUB} Mr. Nobody by Jaco Van Dormael Mr. Nobody. Pan-European cinema with a dash of American flavor, a good description of what you can expect from Mr. Nobody. Belgian (!) director Jaco van Dormael launches this unique project which unifies influences from all over the Western world to create a film that pays homage to its predecessors while still standing very well on its own. The result is something definitely worth having on your resume. No doubt Jaco Van Dormael's Mr. Nobody is overreaching. The film is overambitious and unable to handle all of its themes with appropriate care. Its 160 minute running time might sound a little overwhelming but there's so much here that it barely allows van Dormael to scratch the surface of all the things he included. This might be a little problematic if you expect a conclusive story and tightly wrapped whole, but that would be missing the whole point of the film. I don't think I've ever seen a film with this many cinematic climaxes before. It's astounding how van Dormael turns each scene into a unique little cinematic event. There is hardly filler here, no scenes to drag out the running time or to fill some gaps in between other climaxes. Every scene matters and every scene is made to look like it matters. The director uses all means to his disposal to keep the viewer engaged and interested in the life of the main protagonist, Nemo Nobody. While advertised as a sci-fi flick it hardly sums up the tone of the film. There are indeed some scenes set in the future and the film does handle some typical sci-fi themes, but at the core of the film lies romance. Three romances to be exact, all of them involving Nemo and all of them happening in alternate universes. This complex setup takes the film into sci-fi territory but at the same time places it in a total different league from regular sci-fi genre filmmaking. The story starts with Nemo, the last surviving mortal on earth, nearing his death. His mind is gone, but a little old-fashioned hypnosis trick is bringing it all back. From there on we travel back in time to follow the possible lives of Nemo. The setup reminded me a little of Benjamin Button with a serious injection of Amelie Poulain, only better. On a visual level Mr. Nobody has a lot of parallels with the work of Jeunet and Caro. Nemo's memories share a similar warm and nostalgic feel, using bright colors and removing all the possible filth, grain and darkness from view. The scenes from the future look more modern and slick, introducing some interesting contrasts. What all scenes share though is a common sense of detail, craftsmanship and vision. The camera handling, art direction and visual inventiveness is varied and simply stunning to behold. And best of all, van Dormael manages to keep it fresh and alive throughout the whole 160 minutes. The soundtrack is just as varied as the visuals, though a little less daring. There are some strange musical choices but for some reason they always seem to work out okay. Not unlike the musical skills of PT Anderson. It's not a soundtrack I'd care to own but within the confines of the film its works very well. Acting is equally strong. Jared Leto is very powerful as Nemo, extra praise goes out to the young cast who all put in equally strong performances. It's not always easy to get this much from kid actors. And as a side note, it's funny how van Dormael takes the most prominent feature of Jared Leto (his eyes) and turns it into a returning stylistic element. It's actually quite remarkable how this is one of the first things I remember when thinking back of the film. The film starts off a little confusing, but once the trip down memory lane starts things fall into place rather quickly. Mr. Nobody isn't a very complex film but it does require the full attention of the viewer to keep a grip on what is happening. There are some parallel universes to take into account and even though there are enough stylistic details and differences to tell them apart, once you miss those it might become confusing very fast. The ending feels a little bit rushed and does a less than perfect job explaining the central theme of the film, but I believe multiple viewings can fix that. If anything, it's a good reason to watch the film a second or even a third time. With scenes skipping quickly between the universes there is quite a lot of puzzling to be done, still it's a film where the premise pretty much defies plot holes so that makes it a little easier. There is plenty to love here. The film knows no weak points, has a strong heart and makes the 160 minutes seem like a short introduction to the main story. There is so much going on, both stylistically and story-wise, that it's all a bit much to take in the first time around, but in the end the film leaves you with a feeling of having watched something very special. Maybe van Dormael could've scrapped a few elements to make it into a tighter whole, at the same time I believe it would've killed part of the charm. Definitely recommended! Mr. Nobody 2009 / This ambitious sci-fi romance with Jared Leto has become an indie cult classic. In a world where mortality has been overcome, people watch in awe as the as the 118-year-old Nemo Nobody, the last mortal on Earth, nears his end. He is interviewed about his life, recounting it at three points in time: as a 9-year-old after his parents divorced, when he first fell in love at 15, and as an adult at 34. The three stories seemingly contradict each other. Utilizing non-linear cinematography, Belgian director Jaco Van Dormael presents each of these branching pathways as a version of what could have been. The result is a complex, entangled narrative. That and the movie’s ensemble cast, featuring Jared Leto, Sarah Polley, and Diane Kruger, have turned Mr. Nobody into a cult classic. The soundtrack, featuring several of the beautifully restrained music by Eric Satie, is also considered a masterpiece. While it is surely not for everybody, this is trippy, intimate, and existential sci-fi at its best. Awesome movie! First time using this site as a precursor to movie-watching, and not in the slightest disappointed! 6 people liked this review. While the concept per se could be interesting (basically a Sliding Doors on steroids), the result is: a patchwork of bad soap opera romances, some sci-fi glimpses, terrible characters (barely the only thing distinguishing the female characters is the hair color) , Magnolia-esque trivia facts here and there, dubious pills of philosophy, a soundtrack which looks like a playlist going on by itself, and very very cheesy cinematography. Very disappointed with this one 1 person liked this review. Director Jaco Van Dormael Talks MR. NOBODY, the 10-Year Process of Making the Film, Working with Jared Leto, and More. From writer/director Jaco Van Dormael , Mr. Nobody is a beautifully artistic film that explores the infinity of possibilities that rise from each decision in life. In the year 2092, 118-year-old Nemo ( Jared Leto ) talks to a reporter about three primary points in his life -- at 9, when his parents divorced, at 16 and at 34 -- but he tells of alternate life paths, often changing course with each decision, at each of those ages. The film also stars Sarah Polley , Diane Kruger , Rhys Ifans , Juno Temple and Toby Regbo . During this recent exclusive interview with Collider, Belgian filmmaker Jaco Van Dormael talked about the 10-year process of making this film, finally making it more accessible for American audiences, what inspired the ideas in this story, not worrying about how audiences will react to his work, what made Jared Leto the perfect actor to carry much of this film, and how the next film he’s written is about God. Check out what he has to say after the jump. Collider: It’s clear how much time, effort and passion went into making this film. What’s it like to know that audiences in America will finally have more access to it and get to see it, after so many years of trying to make that happen? JACO VAN DORMAEL: Yeah, it took me 10 years to make this film. It took six years to write, and two years to do it, with six months of shooting and a year and a half for editing and sound. The whole process was about 10 years. What took me the most time was writing, but that’s normal. The most important part is the script, the writing and the words. It’s also less expensive, so I spent a lot of years on that. I’m a slow writer. Has it been frustrated that more people haven’t been able to see it, or are you just happy that it’s more available now? VAN DORMAEL: I’m glad that the film has finally arrived in the States, after four years. It also took four years to be released in Korea. I think that’s the same time it would take a message dropped in a bottle to arrive. For my next film, I’ll just put a DVD in a bottle and drop it in the water. It’s great because it’s a film that’s a little out of time. It is a strange film with a strange journey, and the film itself has had a strange journey. It doesn’t resemble other films, and it represent the way most films are released. How did this film start? Did you have specific themes and ideas that you were looking to explore, and then it developed from that, or do you start with specific characters and develop the story from there? VAN DORMAEL: I made a short film in ‘82, called È Pericoloso Sporgersi , and it was a 12-minute story of a boy who had two lives, one where he went on the train with his father and one where he stayed in the station with his mom. When I went back to that idea, I realized that, after one bifurcation there was another bifurcation, and then another bifurcation. The complexity of what makes a choice impossible is perhaps because, every time you make a choice, there is an infinity of possibilities. If you make the other choice, there is also an infinity of possibilities. When you have the feeling of making a free choice, is it really free, or is it because of my fears or because of my background or culture? When I fall in love, I don’t know why I fall in love, I just know that I am in love. I can’t fall in love with a door or a telephone, so where is the freedom in the choice? Is the freedom just in saying yes to a person without knowing why? That is a question of complexity. There is a big difference between storytelling and being alive. Those are the two things that I prefer in life – telling stories and being alive. In stories, everything has to have clear consequences and everything has to focus to the end. Everything at the end will give meaning to everything that precedes. In my own life, the consequences of the choices I’ve made aren’t always very clear. The most beautiful things are sometimes not totally truthful, and the end will not give more meaning to everything that precedes. So, the writing was about how to speak about the absence of story in life, and to tell it in a way where it looks like a story. Instead of focusing on the end, it’s more close to a video game where everything is going in all directions, at the same time. That’s the reason why the script took so much time to write. I had to invent the structure, differently from everything I’ve done before. When it takes so many years of your life to write, direct and put the movie together, were there ever any moments where you thought you should just move onto something else, or were you determined to make this film, no matter how long it ultimately took to make? VAN DORMAEL: If you’re not compulsively a monomaniac, you’ll never make a film. It’s like taking the same chewing gum, every morning, and saying, “Okay, it has a lot of taste,” and continuing to chew it. After six years of writing, if I stop, it’s something that will never happen. But, it was really fun. The whole process was 10 years of happiness. How much different is what we see now from what it started out as? Does it feel like the story and ideas in it changed and evolved quite a bit, or does it feel close to what you first envisioned or wanted for it? VAN DORMAEL: The film is totally close to the script because all of the transitions had to be written. What is different from the script is that it’s a collective piece of art. When I write, I speak with ghosts for years, and I see images that are a little bit out of focus. I see faces, but the faces change. At the moment that it’s a real human being that’s flesh and bone, it changes a character. It’s much more precise and complex. And then, there’s the camera with that lens and the set with that color. And everybody on the crew brings something that is indispensable and adds to the complexity of the feeling that you can have. It’s not a dream anymore. It looks like a dream, but it has a lot of details. Were you ever concerned that American audiences might not fully understand some of the more surreal moments in the film, or is it more about the experience and the emotions of it than it is having the audience fully understand every moment and details of the story? VAN DORMAEL: I never worried about it because it’s a little bit like that moment you are lost, but then you find the way out. I never know what the audience will think. I don’t know what the people who loved the film have seen, and I don’t know what the people who don’t like the film have seen. I will never see the film myself because I know it like my pocket. That’s something very mysterious. A film is like a message dropped in a bottle in the sea that somebody finds. Every time somebody finds it, it’s a miracle. But, I don’t know what the perception will be. I can know what I tried to do, but I never know what the perception is. The film is very simple. It resembles the way we think, with multiple possibilities. It’s like having a phone call while, at the same time, having a conversation on the computer while, at the same time, watching a film. A non-linear narrative is something that you can enter very easily, jumping from one story to another. The role of Nemo must have been challenging to cast, with so many different versions that each have their own look, mannerisms and physicality. What was it about Jared Leto that made him the perfect actor to take on that role? VAN DORMAEL: I think Jared was really the perfect actor for that role because he’s an actor of transformation. He’s somebody who likes to make characters that are very far from himself. When I realized, in his filmography, that he was in two or three films that I’ve seen but didn’t recognize him in, at that moment, I was sure that he would be the perfect actor to make nine different Nemos in nine different lives. Of course, he’s helped by the costumes, the make-up and the hair-cut, but he does it from the inside. He had different breathing and different voices. At the same time, the way we filmed all of the nine Nemos was very different. For life with Elise (Sarah Polley), the camera was on the shoulder the whole time and not stable. When he’s a widower, the camera is far from him, like he’s far from himself. We never follow him. The camera is very independent. It moves to see something else, and then comes back. The camera helped to make each of the characters different. Were there things that Jared Leto brought to the character, as an actor, that you hadn’t envisioned before casting him and watching him perform? VAN DORMAEL: Of course, yeah. That’s the miracle. It’s impossible to really imagine what is flesh and bones. Only an actor can do that. It’s so much better when it’s slightly different from what I thought it could be. There are more complex feelings and perceptions. An actor can play two or three lines where he says one thing, but plays the opposite. That’s the most important moving part of a film. What was it about Diane Kruger and Sarah Polley that led you to cast them? VAN DORMAEL: Sarah was really my first idea for Elise, and she said yes, immediately. The first time I met her, I asked, “Can you cry for two weeks in a bed without suffering?” And she said, “Oh, no problem! I can cry and stop on command. I will not suffer to do that.” And that was really true. She’d say, “Give me 10 seconds, and I will be in the character.” She would take 10 seconds and cry, and then when the camera would stop, she was laughing with everybody. She’s really a fantastic actress. She’s also been an actress since she was six years old, so she knows how it works. And Diane was really fantastic, too. She was playing a character that’s very different from what she plays, usually. What she did really well was to reinvent the love of two children with the same power as first love, and she did that fantastically well. Do you feel like having a big budget for this film worked to your advantage, or do you also like the idea of having to get more creative when you’re working with a tighter budget? VAN DORMAEL: Having a big budget, I have no problem with spending the movie. It’s fantastic to have a big budget. It gives a lot of time. It gives a lot of freedom. What’s difficult is raising the money beforehand, and then when the investor wants the money back, afterwards. Because nothing is really realistic, and everything is more about the perception, it looks true and not true, at the same time. All the special effects were there to say, “Perhaps this is not the reality.” That’s more expensive than having something realistic. Perhaps for my next film, it will not be as big of a budget, and more into the reality. Where do you go from here, as a filmmaker? Do you already know what you’ll be doing next? Are you currently writing something now? VAN DORMAEL: I worked for two years on a theater play that’s not really a theater play. It’s a film that is made on stage. It’s a 20-minute film that is directly made on the stage. It’s called Kiss & Cry , and we’ve played in Boston and Pittsburgh. That is much more collective. It’s got tiny sets. I said, “Is it possible to make a feature film on the table in the kitchen, just to make it differently?” And it’s possible. That is something that we played 150 times, and it was really fun to do. And I wrote a new script that I will shoot next summer, and it’s about God. If God exists, he lives in Brussels with his wife and young daughter. To take revenge, his young daughter puts secret information on the internet and has to escape. It’s shot very naturalistic. Mr. Nobody is currently available on VOD, at iTunes and on Blu-ray/DVD, and will be in limited theatrical release on November 1 st . Mr. Nobody — Film Review. Belgian director Jaco Van Dormael, describes at least three distinct futures for the 9-year-old Nemo. It starts when the boy is forced to make an impossible choice: to stay in England with his Dad (Rhys Ifans) or jump on a train and go to the U.S. with his mother (Natasha Little). Share this article on Facebook Share this article on Twitter Share this article on Email Show additional share options Share this article on Print Share this article on Comment Share this article on Whatsapp Share this article on Linkedin Share this article on Reddit Share this article on Pinit Share this article on Tumblr. NEW YORK - OCTOBER 13: Actor Benjamin Walker attends the "Bloody Bloody Jackson" opening night after party at Brasserie 8 1/2 on October 13, 2010 in New York City. Jason Kempin/Getty Images. Share this article on Facebook Share this article on Twitter Share this article on Email Show additional share options Share this article on Print Share this article on Comment Share this article on Whatsapp Share this article on Linkedin Share this article on Reddit Share this article on Pinit Share this article on Tumblr. Venice Film Festival — Competition. VENICE, Italy — What is the nature of time? Not the best subject for a popular feature film, one might think, until “Mr. Nobody” came along to prove the contrary. Like a thinking man’s “Benjamin Button,” it addresses very complex concepts, like the infinite number of possibilities that human life presents, in an entertaining way, following the hero Nemo Nobody, age 0 to 118, through the different lives he would have led had he made different choices. This big-budget English-language co-production shows that Europeans can compete in the sci-fi realm where high production values are king. Given the film’s versatile appeal as love story and fantasy, but relatively minor star power (Jared Leto, Sarah Polley and Diane Kruger are the top names), its commercial outlook looks strong but not overwhelming. Belgian director Jaco Van Dormael, whose concise repertoire includes “The Eighth Day” and “Toto le heros,” describes at least three distinct futures for the 9-year-old Nemo. It starts when the boy is forced to make an impossible choice: to stay in England with his Dad (Rhys Ifans) or jump on a train and go to the U.S. with his mother (Natasha Little). This wrenching moment is rendered full of anguish by young Thomas Byrne, the first of the film’s Nemo incarnations. If he stays with his father, he ends up with the blonde Elise (Clare Stone as a teenager, Polley as an adult) and lives through a painful marriage to a wife afflicted with chronic depression. Out of love for her, he travels to Mars to scatter her ashes in a delightfully futuristic scene aboard a space wheel, where the passengers are put into hibernation until they reach their destination. Had he leapt on the train to follow his mother, on the other hand, he would have fallen deeply in love with Anna (teen Juno Temple, adult Diane Kruger) in an intensely romantic story. Their underage love ends in tragically losing each other for years, until they find each other again as young adults. A third, apparently negative possibility has Nemo choose to become rich instead of happy, and he pairs with Jeanne (Linh-Dan Pham) in a loveless marriage that ends in senseless tragedy. A little too often, we are projected into the distant future, where Nemo is about to die of old age at 118. As the last mortal alive in a world that has learned to renew its cells, he’s a curiosity item monitored by a tattooed psychiatrist (Allan Corduner) and interviewed by nervous young journo Daniel Mays. Jared Leto, who plays Nemo as an adult, is rendered unrecognizable by make-up, and indeed he can hardly recognize his own life or remember which of the many roads possible he chose to travel. On some level he seems to have lived all the possibilities; to have died all the deaths and still be alive. An intriguing ending leaves the question open, suggesting that every life is worth living. Leto’s wide-open blue eyes guide the viewer through the labyrinth of time and choices. He takes the torch, as it were, from Toby Regbo, who plays his 15-year-old self with shaggy appeal. Kruger offers a remarkably intense portrait of undying love; also memorable is Juno Temple as herself at 15, wisely aware that her feelings for Nemo will last forever. Polley’s role is less romantic than chilling, and her interpretation of the manic-depressive Elise painfully uncompromising. Van Dormael’s intriguing script is more than matched in his flamboyant direction of this 2-hour-plus tale, heroically edited by Matyas Veress and Susan Shipton into a fluid, generally understandable narrative. While Nemo wonders why time only goes in one direction, and ponders the possibility of smoke returning into a cigarette, the filmmakers have no trouble turning the hands of time backwards and forwards. But this is never done for cheap thrills; everything comes back to the idea that human life is precious in all its complications, and every choice we make has its consequences. Production designer Sylvie Olive was prized at Venice for her extraordinary fantasy sets, color-coordinated in each life through the masterful cinematography of Christophe Beaucarne. Production companies: Pan-Europeene, Integral Film, Lagofilm, Christal Films Prods., Toto & Co. Cast: Jared Leto, Sarah Polley, Diane Kruger, Linh-Dan Pham, Rhys Ifans, Natasha Little, Toby Regbo, Juno Temple, Clare Stone, Thomas Byrne, Audrey Giacomini, Laura Brumagne, Allan Corduner, Daniel Mays Director: Jaco Van Dormael Screenwriter: Jaco Van Dormael Executive producers: Nathalie Gastaldo, Mark Gill, Daniel Marquet, Jean-Yves Asselin Producers: Philippe Godeau, Alfred Hurmer, Marco Mehlitz, Christian Larouche, Jaco Van Dormael Director of photography: Christophe Beaucarne Production designer: Sylvie Olive Music: Pierre Van Dormael Costumes: Ulla Gothe Editors: Matyas Veress, Susan Shipton Sales Agent: Wild Bunch No MPAA rating, 137 minutes. MR. NOBODY (JACO VAN DORMAEL, 2009) película pedante, de supuesta profundidad y eso si, visualmente espectacular, aunque creo que hubiera funcionado mucho mejor sin tanto envoltorio. Las dos horas y cuarto peor invertidas en mucho tiempo. No es fácil ésta película. Ya avisaba que su recorrido comercial será breve y es carne de filmoteca y vose. Cine europeo con enormes pretensiones. La historia central es la emotiva, y si te gusta o no de ahí dependerá el poso o el interés por la película. Un saludo, muchas gracias por comentar. Me pareció buena, una forma interesante, mas no del todo original, de abordar una idea que es difícil plasmar en cine. P.D. No me pareció "pedante". jaja. A mi tampoco me lo pareció, cómo comentas no es fácil plasmar una historia así, y a veces Van Dormael, se pierde. Pero es una apuesta con riesgo, que apuesas por ahondar en nuestros recuerdos, a mi me llegó. Repito al usuario anterior, no es un film fácil, pero merece la pena el esfuerzo. Un saludo, gracias por comentar. en lo personal, me parecio una pelicula excelente, que nos recuerda que tan importante son nuestras decisiones.a primera vista se ve pretensiosa, pero esta muy bien lograda, a comparacion de otros pretensiosos como films como benjamin burton y bastardos sin gloria. Gracias Ezile,por comentar. El caso es que Mr. Nobody es una de las mejores películas del año. Al igual que Origen-Inception, es una propuesta diferente, que siempre encontrará voces discordantes pero para gustos colores.Me alegro de que te gustara. Un saludo. Recuerdan esos libritos que leímos de niños donde había un centenar de finales posibles? El libro estaba todo desordenado y tenías que saltar de página en página para continuar dependiendo de la decisión que uno tomara. Así había historias más largas y otras más cortas, unas trágicas, otras felices, otras aburridas y otras emocionantes. Esta película es uno de esos libritos pero con la historia de una persona contada para adultos y el pretexto perfecto para reflexionar acerca de que no hay más nada después de la muerte; la posibilidad de mundos paralelos, la linea del tiempo y su existencia en el universo, así como de la expansión y contracción sucediéndose hasta el infinito. Me gusta tu visión. La película puede llegar a ser emotiva para el espectador atento y sin ningún tipo de pretensión. Es un reflejo de nuestra vida, decisiones y anhelos que nos tocan o pasar paralelos. A mi realmente, me gustó y me hizo pensar, que es lo que Van Dormael quería. De lo mejor del cine europeo actual. Gracias por pasarte, un saludo. Muy interesante. Como mal menor que con tanto viaje temporal uno acaba mareado ;) Gran reseña Emilio. Soy el mismo del concepto del librito en desorden de cuando eramos niños Emilio. Esta con algunas otras, es de lás películas de mi vida, tiene un lugar especial. Cuando escucho las quejas por lo pretenciosa o desordenada que es no puedo más que pensar en el personaje del reportero que lo entrevista y su desesperación cada que Mr. Nobody inicia o continua con una historia distinta. Pienso en el director riendose a carcajadas como Mr Nobody (jaja perdón no puedo evitarlo). Él pudo contar las historias cada una por separado y en orden cronologico,pero vamos! no seamos ingenuos, pues el desorden de la cinta no es un desliz del director, a mi parecer es una manera elegante de acentuar lo que expone acerca de la entropía y la tendencia de nuestro universo al caos. La ironía del hombre tratando de crear orden pero que termina siempre desordenando algo más. Exceso de semiótica de mi parte? quizá la hierbabuena que fumé antes de verla. Para mi tiene mucho sentido todo y no soy exclusivo existencialista ni físico cuántico. Soy un simple masajista que gusta de andar en patineta y que les desea un feliz inicio de semana! :P. Gracias al comentario anónimo por su visita y, ante todo, por tu ánimo. Un saludo. Matzin: me alegro de poner nombre a tan buenas ideas. Ojalá ese poquito de hierbabuena ayudara muchos otros ha aclarar ideas. Me gusta el término que empleas: elegante. Van Dormael utiliza de manera poco convencional de narración no lineal, con un uso de la historia y de la imágenes bastante sutil. El caso que al igual que Inception, el éxito de la película depende de que te creas a Nemo Nobody y la historia central, su relación con Anna. Ese tandem Leto-Kruger es increíble, y es inevitable que nosotros nos enamoremos de Anna, también es inevitable las numerosas alternativas que tenemos en vida, anhelos, decisiones, aciertos y errores y Mr. Nobody lo refleja de manera notable. Me gusta el cómo interpretas la película, de hecho me gustaría que me dieras tu opinión sobre Origen-Inception, estoy seguro de que te tiene que haber gustado. Un abrazo Matzin, espero verte por aquí de vez en cuando. Coincido absolutamente contigo Emilio, jaja Hierbabuena para todos! Ya en serio, En cualquier arte escénico la premisa máxima es esa! Existe una convención entre espectador y creador en la que todo lo que se desarrolle dentro de ese espacio mágico al que llamamos “el escenario” es posible y real. Como dices tú: Hay que creérsela. jeje. Siempre habrá críticos que se aferran a su limitado paradigma cinematográfico para los que cualquiera que ose salirse del los lineamientos establecidos es poco menos que aberrante; ya sabes con pose de: “a mi no me impresiona nada”, “no supo manejar correctamente el guión”…. Y no puedo más que sentir una profunda pereza por ellos. Porque a mi si me impresionan y no tengo miedo a decirlo, me impresiona la vida con el cielo sobre mi cabeza mientras brinco al patinar o con el niño que con una sonrisa me hace una pregunta tan simple y brutal. Por eso yo digo fuera poses, por eso me gustó tu reseña. Por cierto no he podido ver Inception, pero la buscaré en esta semana y la comentamos. Saludos! No se trata de la crítica, sino de el público en general. La gente va al cine o se pone una película en casa y "ve" la película no "entra" en ella. A cuanto mayor nivel de dificultad, el interés cae. Lo bueno del cine que existe un tipo para cada persona, por eso todo lo amamos y disfrutamos a nuestra manera. Me gusta tu enfoque de la vida, y, lo del patinete me recuerda a Heath Ledger. Espero leerte pronto de nuevo. Un abrazo. Buena es poco, esta película es buenísima. sin duda, de lo mejor de 2010! Sigo sin entender como no estuvo nominada a los Goya, como mejor película Europea. Impacta, sorprende, emociona. Para mi gusto, supera a "Olvídate de mí", y eso que esta última me encantó! A mi me encantó, sobre toda la historia central con un excelente Leto y una soberbia Kruger. Para la crítica siempre será una modernez por ello los premios nunca estarán de su lado. Yo la elegí entre las diez mejores películas del año pasado. Muchas gracias por pasarte. Un abrazo. “Como fue antes del big bang. No hubo antes, pues antes de esto, el tiempo no existió. El tiempo es el resultado de la expansión del universo en sí“ Me ha gustado demasiado y me iré a la cama pensando muchas cosas, sobre todo las decisiones, pero no en las que tome, más bien en las que tomaré. Siempre he considerado que todo en este mundo depende de las decisiones que tomemos. No toca temas complejos, solo temas de humanos. Después de todo la vida no es compleja, nosotros la hacemos compleja. El Amor, la amistad, el sexo, la vida, la muerte, la vejez. Comienza bien, se mantiene el ritmo, de repente cae y termina bien. Tampoco pediremos una Kubrick hahaha. Por cierto que poster más feo, no dice nada de la peli. Fotografía, música, montaje, efectos, las voces en off, los diálogos, las miradas, los paisajes. Me gustó todo.! Recomendada. Olvín, esta película estaba hecha para tí. A mi me fascinó, sobre todo al historia central entre Anna y Nemo. Tu lo explicas de manera inmejorable: "No toca temas complejos, sólo temas humanos". Es un filme reflexivo y evocador, cualquier persona se puede sentir identificado con ella. En cuanto al póster, no es tan feo, de hecho el resto editados son peores. Es un filme técnicamente notable. Una de las mejores del año pasado, en mi opinión. Me apunto al igual que tú a Van Dormael. Un abrazo y gracias Olvín por esta estupenda sorpresa. Recomendadisima. obra maestra simplemente no se como la encontré de rebote, cuando debería de haber tenido una difusión mucho mas grande. Pero claro juanpueblo que duerma. que duerma mucho pues esta peli abre puertas de reflexión y eso a nadie le sirve verdad? El tiempo la posicionara en el debido lugar :D Mi humilde opinión super subjetiva jeje.