Solitude: a sweet absence of looks. Milan Kundera
In the first stage of the "Parque via" camera in a scene filmed a man who walked through the corridors quietly step property, which takes care of the yard go to - without haste - to collect laundry hanging on a string, exactly at the same time, once again exceeds the threshold of the building - behind his back starts to rain. This is a great scene with at least two reasons. First, its length turns out to be strictly subordinated to the plot, every second earlier, as it were felt by the hero has gained importance. First, the content, then the artistry, this old-fashioned sequence is typical for the whole movie Enerique'a Rivero: narrated sparingly, slowly in the narrative for a moment is not turning into another Mannerist-minimalist film, which measures the condition of the creator of his character that amount of time it takes to eat the soup. The dialogues are very natural, credible characters, and all non-free is on a pretty good, sometimes very black humor - not because the viewer session while away, but that it does not get bored. It is a film about loneliness, but in no case of boredom. Secondly, already in the introduction there is what for "Parque via" - for the world to create around himself the hero - the most important: the predictability, harmony, tranquility.
Beto years guarding the house put up for sale. Contact with the outside reduced to a minimum. For visits owner, potential buyers and befriended prostitutes. In the end, however, the property is sold and the hero will be forced to leave their safe space. The only question is whether it still could - would - be found in the external world. The outline of the story at the level of the description reminded me of "The Legend of 1900" Giuseppe Tornatore, and indeed, when in one scene, the "Parque via" Beto seen from the hill of the city skyline it is easy to think of a similar scene from the film with a view of the city Tornatore where was all but end . Session brought Subsequent associations, primarily from the excellent, appearing with us a few years ago, Argentina's "Shadows" by Rodrigo Moreno. Except that in this case is the similarity of opposites. Both films tell about a man whose life is reduced to its social - to the child - the role. But while the story told Moreno FOR IN focused on alienatedness, degradation, and finally - increasing frustration leading to a dramatic attempt to liberate, then in the "Parque via" the limitation of each other in the world - does not hurt. Maybe someday, in the beginning, but sometimes quite the contrary. Loneliness is not perceived as a bad thing; loneliness, which is enough, others who were behind the wall and did not longing for them - a beautiful theme, the more valuable that so infrequent, going against the tide somewhat more than the narrative conventions. And by this very perverse in his somewhat antisocial, but positive overtones.
[text is a slightly amended version of the review, which at one time posted on the pages Filmwebu]
In the first stage of the "Parque via" camera in a scene filmed a man who walked through the corridors quietly step property, which takes care of the yard go to - without haste - to collect laundry hanging on a string, exactly at the same time, once again exceeds the threshold of the building - behind his back starts to rain. This is a great scene with at least two reasons. First, its length turns out to be strictly subordinated to the plot, every second earlier, as it were felt by the hero has gained importance. First, the content, then the artistry, this old-fashioned sequence is typical for the whole movie Enerique'a Rivero: narrated sparingly, slowly in the narrative for a moment is not turning into another Mannerist-minimalist film, which measures the condition of the creator of his character that amount of time it takes to eat the soup. The dialogues are very natural, credible characters, and all non-free is on a pretty good, sometimes very black humor - not because the viewer session while away, but that it does not get bored. It is a film about loneliness, but in no case of boredom. Secondly, already in the introduction there is what for "Parque via" - for the world to create around himself the hero - the most important: the predictability, harmony, tranquility.
Beto years guarding the house put up for sale. Contact with the outside reduced to a minimum. For visits owner, potential buyers and befriended prostitutes. In the end, however, the property is sold and the hero will be forced to leave their safe space. The only question is whether it still could - would - be found in the external world. The outline of the story at the level of the description reminded me of "The Legend of 1900" Giuseppe Tornatore, and indeed, when in one scene, the "Parque via" Beto seen from the hill of the city skyline it is easy to think of a similar scene from the film with a view of the city Tornatore where was all but end . Session brought Subsequent associations, primarily from the excellent, appearing with us a few years ago, Argentina's "Shadows" by Rodrigo Moreno. Except that in this case is the similarity of opposites. Both films tell about a man whose life is reduced to its social - to the child - the role. But while the story told Moreno FOR IN focused on alienatedness, degradation, and finally - increasing frustration leading to a dramatic attempt to liberate, then in the "Parque via" the limitation of each other in the world - does not hurt. Maybe someday, in the beginning, but sometimes quite the contrary. Loneliness is not perceived as a bad thing; loneliness, which is enough, others who were behind the wall and did not longing for them - a beautiful theme, the more valuable that so infrequent, going against the tide somewhat more than the narrative conventions. And by this very perverse in his somewhat antisocial, but positive overtones.
[text is a slightly amended version of the review, which at one time posted on the pages Filmwebu]
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