"What did they do?"
The latest great news from the Uruguayan film industry, at least in terms of media coverage, did not come from both hands large festivals (as was the participation in Whisky Cannes, or the Silver Bear Giant ), for their technical achievements somehow entering a category linked to the records and figures that the jurors and critics. All more or less know the first major statement: millionaire hiring Federico Alvarez, sponsored by Sam Raimi, having made the short panic attack, a video with visual results of the highest commercial film with a budget of three hundred dollars. Now it moves The house, horror movie that has among its special technical features have been filmed in a real-time and on one sequence shot, the seventy-two minutes elapsed in the life of a beleaguered protagonist in a house bricked up inside. Bridging the gap (both thematic and stylistic), the idea had been worked by Sokurov in Russian Ark, but one of the main hooks of Uruguayan film was not only the spice of "terror in real time," but a Again, the merit of doing much with little: the movie only cost six thousand dollars, and was filmed with a digital camera photo, being only the second film in the world to be filmed with such a device. As soon as word spread, a U.S. study bought the idea and everything seems to be an American movie that takes elements of the Uruguayan, possibly technical, though not quite know what aspects of the theme.
All this is at the very edge of what may be an analysis of the film, something more commonly seen in press releases that film criticism itself. Being
preceded by a great heir of Edgar Allan Poe as Horacio Quiroga, draws attention to how the cinema of horror or terror Uruguayan always had himself a great, or at least decent movie of this genre. Several examples were provided, but generally failed, naive, or at the edge of amateurism (remember the werewolf Plenilunio wadding, Ricardo Islas), usually distributed in VHS, or gender played at festivals rather prone to the bizarre. In this sense, the house move resumed, in a way, the post opened with the television program Anonymous voices (somewhat irregular series in technical as in the narrative, but weighty in its original idea, and effective in some individual chapters), using free recreation of an event and chronic enigmatic Uruguayan red. The film focuses on a gruesome fact registered in Godoy, Uruguay, by the
The Wizard Luque
The camera in hand (with an ocher filters, which give a field that area look more rundown yet) is a character himself in the film, starting at the beginning as a voyeur of Laura, as if the very presence of the house to follow her on the sly, cornering in small spaces with moments in which the protagonist could reach almost smell the breath of the observer on the edge of the neck. In a film in one take, handling and travel times (and, to complete the ordeal, the complex play of light, considering that almost the entire movie takes place in a walled house, lit only by a series lanterns) calls technical team skill bordering on choreography. In these senses, Pedro Luque (director of photography for the film) may have to move house as the thesis film, being the culmination of a professional and artistic process itself has grown by leaps and bounds. The first two thirds of the film are impeccable, with a solid command of the pulse and the suspense and action points giving the blind and starts (so bastardized in the current horror films) a new use, or at least a technical expertise not seen in almost any contemporary film. This is like the first part slasher film: Two people enter a house boarded up, where someone or something that could take him as a hunter. Effective and forceful, often seen between the crack of the fingers, the film picks up (or opened, at least in the cinema) the horror of the deep interior, simple but paradigmatic fear that in the middle of nowhere no one can hear you scream.
The damn nut
But then the unthinkable happens. Already well into the film, the story begins to hit a twist on that difficult to understand us at first and then we have difficulty in converting the film, the plot and our expectations for something completely different from what came to be. In the horror film, the twists are what history is a pentatonic blues, we can cite as initiation of this style film The Cabinet of Dr. Caligary , as well as psychosis , or the most bizarre Sleepaway Camp. However, certain logic, the crux of the issue with the famous twist, not so much the immediate effect of glare from the viewer, but the reconstruction that allows the same make of what happened. Thus, the grace of twist is how the film continues to operate long after the film ended in a sort of communion between magician and apprentice. However, in The house moves, not only is there nothing that allows the viewer to anticipate what will happen, and therefore return to their own footprints, "but, given the changed circumstances, are generated huge holes in the script review are like a tower of Yenga which collapses completely. Would be difficult to fully explain the reasons for these errors without revealing further details of the permissible, but there are plenty of situations that do not set, which arguably-disoriented in the bad sense, or at least to them, should require a forcing a certain type of ad hoc explanations that would be fed artificial. It really is a shame and folly what happens after the twist, with a script trying to integrate a subplot that does not fit in any way with the footage, and, worse, left no room for imagination viewer, introducing an epilogue between redemptive quiroguiano that the viewer is stupid (condescendingly in this second sense, sadistically for the first time.)
Actually, at times, the "what you did," he repeats once more the protagonist should do it to a film if it had followed the easier path, to Tobe Hooper and not so much what might have Shyalaman left a wedge in the history of film may not only Uruguay, but also internationally.
The modesty Madit
These errors writers it adds another array rather ideological. At one point, the house shows a lot of photos of what appear to be holding orgies that were previously there. The tone vintage polaroid photos look more tempting true aesthetic universe of current indie picture of the reality of a dweller in a poor house in the countryside (the polaroid are so expensive and hard to get in Uruguay). Let's leave aside the latter, considering that perhaps the filmmakers were not interested in making a film focused on Uruguay, but in a field rather indefinite. What really annoyed of this detail are two points. The first, recital held orgies rather sleazy tone in a home made ball in the middle of nowhere (at least the back of the house in the pictures not look like a mansion in Punta del Este), one would expect to accompany such material photographed female aesthetic. Completely on the contrary, the girls are pictured are too cute, too cool , some on the edge of the pin-up, to imagine in such raids. You know the guys who took the photos do not have the wave, beauty, or twine to have these girls doing those things in that house. And secondly and more importantly, how can it be that the lot of the photos displayed in the film appears not even a tit? For anyone who has visto fotos de orgías amateur, sabe que lo que menos hay en las mismas es espacio a la imaginación. Por el contrario, todo es demasiado estilizado, demasiado “cuidado” y arty como para unos bufarras del medio del campo. Cabe decir que si se hubiera preferido mantener un tono más leve, sencillamente se podría haber insinuado la existencia de dichas fotos, no era tan difícil. Si entrás a la pista tenés que bailar, no te metas a introducir sub-tramas en las que no estás a la altura de las consecuencias.
Lo que queda de La casa muda es el misterio, no el misterio presentado en la misma película, sino el misterio de qué pasó y qué podría have been if they had taken other decisions.
Published in The Daily on March 21, 2011
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