Hace unas semanas publiqué un post sobre la iniciativa de la revista ELLE en Francia de retratar a una serie de famosas sin maquillar. Una iniciativa con la que se alimentaba la polémica de si hay que utilizar o no el photoshop en las imágenes que se publican en prensa, y especialmente en las revistas. El éxito de esta experiencia ha animado a la versión española de ELLE a hacer algo similar con algunas famosas españolas.

De esta manera, en el número de octubre de ELLE podemos ver las imágenes sin maquillar de rostros tan conocidos como Sara Carbonero, Elsa Pataky, Patricia Conde, Paz Vega, Martina Klein, Nieves Alvarez, Vicky Martín Berrocal, Judit Mascó, Susanna Griso, Belén Rueda, Pastora Vega y Béatrice d’Orléans. Distintos estilos, distintos perfiles, pero todas al natural, con sus arruguitas y sus patitas de gallo (algunas). Así es la vida, qué le vamos a hacer.

Esta iniciativa viene acompañada de otro experimento editorial como es que la revista sale al kiosco con cuatro versiones de portada: Sara Carbonero, Elsa Pataky, Patricia Conde y Paz Vega. No sé si esta experiencia se ha realizado alguna vez en España. Será interesante ver cuál de las portadas vende más. De momento, en la web de la revista (www.elle.es) se pregunta a los lectores cuál de las cuatro es su preferida.

“Mar adentro, mar adentro,

y en la ingravidez del fondo

donde se cumplen los sueños,

se juntan dos voluntades

para cumplir un deseo.

Un beso enciende la vida
con un relámpago y un trueno,
y en una metamorfosis
mi cuerpo no es ya mi cuerpo;
es como penetrar al centro del universo:

El abrazo más pueril,
y el más puro de los besos,
hasta vernos reducidos
en un único deseo:

Tu mirada y mi mirada
como un eco repitiendo, sin palabras:
más adentro, más adentro,
hasta el más allá del todo
por la sangre y por los huesos.

Pero me despierto siempre
y siempre quiero estar muerto
para seguir con mi boca
enredada en tus cabellos“.

Javier Bardem e Belén Rueda

Bisoux,

la fille de poche

(originally posted: 05/03/05 – modified: 12/10/09)

Egy saját világot mutat, ami egy koponya mögött épül? A valóság egy lényegibb arcát? Egy olyan történet, ahol a tudatalatti megkapja a vezető szerepet? Vagy ez az egész csak egy szűrő, ami megvéd minket a külvilág jéghideg borzalmaitól? Nem kapunk konkrét válaszokat. Egy csatorna, ahol feltör egy elfojtott világ. Egy újabb film a két világ határán bóklászókról.

Ha a külső történéseket írjuk le egymás után, egy szívszorító drámát kapunk. Egy anya, aki árvaként nőtt fel, elveszíti örökbefogadott fiát. Ezt képtelen feldolgozni. Először hallucinál, majd öngyilkos lesz.
Ha a belső történésekre koncentrálunk, akkor ez a film egy utazásról szól, ahol megtalálnak egy kaput, amin átlépnek egy boldogabb és szabadabb világba.
Nem tudjuk egyféleképpen értelmezni ezt a filmet, mert mindegyik értelmezésnél találunk valamit, ami az adott kontextusban nem stimmel. Nem lehet csak spirituálisan vagy csak racionálisan nézni ezt a történetet. Éppen ez a nyomasztó az egészben.
Joggal tehetjük fel a kérdést, hogy Az árvaház végeredményben szeretetről és a bátorságról szól, vagy a veszteségről és az őrületbe menekülésről. Bármelyik választ meg lehet indokolni.

Laura (Belén Rueda) egy tengerparti árvaházban nőtt fel. Harminc év után visszatér családjával, hogy az üresen maradt helyet fogyatékos gyermekek számára újra megnyissa. A régi romos faházban a kis Simon képzeletbeli barátra lel. Simon és Thomas bújócskáznak, tárgyakat keresnek. Laurát egyre inkább nyugtalanítja a játék. Közben egyre több dolog tér vissza gyermekkorából. A múlt utánanyúl és Laura nem csak a szép emlékeit kapja vissza.
A megnyitó napján Simon eltűnik. Laura nyomozásba kezd, hogy megtalálja kisfiát. Férje (Fernando Cayo) támogatja, de amikor Laura egyre okkulttabb dolgok felé fordul megijed és próbálja visszatartani feleségét.

A spanyol Juan Antonio Bayona rendezői bemutatkozása jól sikerült. Hihetetlen atmoszférája van a filmnek. A terek, a szereplők, a történet…. Kiráz a hideg. Erősen érezni Guillermo del Toro (Ördöggerinc, a Faun labirintusa) keze nyomát, aki ennél a mozinál producerként tevékenykedett.

Belén Rueda (A belső tenger) nagyszerűen oldja meg a kétségbeesett anya megformálást. Alakításának minden percét elhisszük. Elveszítette a szüleit, és most elveszíti a gyermekét. Beleőrült vagy eljutott egy olyan szintre az érzékelésbe, ahová kevesen. A Simont alakító Roger Pricep is telitalálat. Meg kell említeni a kis mellékszerepekben játszó színészeket, akiknek annál nagyobb szerepe van a feszültség fenntartásában. Geraldin Chaplin (médium) és Montserrat Carulla (Benigna) színrelépései a legijesztőbb pillanatok a filmben. Ez nem azt jelenti, hogy egyébként nincsenek olyan jelenetek, amik a frászt hozzák az emberre. Vannak.
Nyomasztó, félelmetes, hatásos, elgondolkodtató. Kötelező.

8cho Citas es la historia de una relación contada en clave de comedia a través de 8 momentos. Como todo el mundo sabe, el amor es algo que: – nace sin que uno se dé cuenta (aunque nunca hayas intercambiado una palabra con la otra persona), – ataca los nervios (incluso cuando ya te has acostado con alguien), – marca un antes y un después (porque una segunda cita puede suponer el inicio de algo más o el inicio del fin), – implica conocer a más personas (incluidos, entre ellos, tu posible familia política) – cambia la vida (sobre todo cuando decides compartirla con esa persona) – se vuelve monótono (y es entonces cuando hay que salir de la rutina, como sea) – se acaba (y duele; siempre duele) – a veces vuelve a llevarnos a una persona a la que dejamos escapar (porque el hombre es el único animal que tropieza dos veces con la misma piedra, ¿no?)

2007: El Orfanato di Juan Antonio Bayona

Critica generalmente entusiasta: L’Unità: “Un film di fantasia nera che guarda al romanzo Giro di vite di Henry James. (…) Il regista, il trentenne Juan Antonio Bayona, è alla sua opera prima, eppure dimostra grande capacità e tecnica”. La Repubblica: “Si vede poco in The Orphanage, ma quel poco basta a trasmettere brividi ignoti al più truculento degli splatter”, Il Corriere della Sera: “Il film ha una pulizia visiva e un rigore nella paura, senza ricorrere mai al ghigno, allo splatter, al sangue ma tenendo presente il mistero senza fondo delle coscienze infelici da cui forse dipende tutto”, Ciak: “L’horror spagnolo si conferma ricco di eleganza e maturo nelle scelte tematiche”, Dnews: “Uno dei thriller horror più belli da tempo”.

Un’ atmosfera fiabesca e sognante, visionaria e malinconica… ma anche inquietante, un continuo e non superficiale stato di tensione, un crescendo emotivo per tutta la durata del film, sono le caratteristiche essenziali di The Orphanage (campione d’incassi in patria, vincitore di sette premi Goya -i premi più prestigiosi del cinema iberico-, candidato della Spagna agli Oscar come miglior film straniero, nonché nominato agli European Film Award 2008 come Miglior Film, Attrice, Fotografia e Compositore).

Una sobria e asciutta ghost story (anche commovente… ma non patetica) che lodevolmente si differenzia dai similari prodotti d’oltreoceano (ma purtroppo in America si sta già lavorando al remake), rifuggendo intelligentemente dai facili “effettacci” che tradizionalmente abbondano in questo genere di film, che privilegia la psicologia e gli stati d’animo dei personaggi e i cui modelli sono Suspense di Jack Clayton e “Gli invasati” di Robert Wise, nonché Alfred Hitchcock, Guillermo del Toro, Alejandro Amenabar (ma anche Pupi Avati). Una sceneggiatura che riprende temi già trattatati mille volte ma che trasforma il tutto in una originale intrigante angosciosa “caccia al tesoro”.

The Orphanage (ma perché un titolo inglese?) più che un horror è un dramma sulla maternità e sulla perdita, sull’infanzia erroneamente ritenuta età idilliaca, sul passato le cui tracce rimangono indelebili e ci condiziona, sulle paure -più o meno inconsce- di tutti noi. Un film che cattura totalmente l’attenzione dello spettatore non lasciandogli mai un attimo di tregua: cento minuti tesissimi e coinvolgenti al massimo, senza tempi morti o lungaggini fuorvianti (ogni scena è importante, ogni sguardo o battuta è essenziale).

Regia elegante sensibile raffinata dell’esordiente Juan Antonio Bayona (noto finora solo come autore di cortometraggi e di video musicali), fotografia e scenografia ottimi (notevole la ricercatezza visiva e formale), suggestivo l’utilizzo di rumori (più che della musica) come colonna sonora: sorprendente che anche sceneggiatore, direttore della fotografia, montatore e compositore siano alla loro opera prima.
Magistrale l’interpretazione di Belén Rueda che regge sulle sue spalle l’intero film e che negli ultimi 40 minuti è praticamente sola in scena (aveva dato ottime prove già in Mare dentro e in Savage Grace): bravissima nel rendere l’angoscia di una madre a cui crolla il mondo addosso (e la si confronti con Angelina Jolie dal ridicolo look in Changeling). Perfetta Geraldine Chaplin.

p.s.

“Attenzione ai titoli di testa di The Orphanage, dove i nomi, impressi su pareti fatiscenti, saltano fuori a ogni strappo della carta da parati che li ricopre. In questo emergere del passato di sotto la vernice fresca del presente, c’è infatti la chiave di lettura del film” (Film.it).

scheda

sito ufficiale

OCEAN WORLD (estreno  25 de septiembre)

Género: Documental
Producción: Reino Unido
Director: Jean-Jacques Mantello
Intérpretes: Belen Rueda (narradora)

Sinopsis:  OCEANWORLD 3D es el primer largometraje documental totalmente rodado en Digital 3D. Esta película, una experiencia única, es un grandioso homenaje a los océanos. Gracias a la tecnología Digital 3D, los espectadores podrán sumergirse literalmente en las profundidades del mar, un universo prácticamente desconocido. La película causará un enorme impacto en los espectadores al mostrar la belleza y la diversidad de los mares, fuente de vida de nuestro planeta. Servirá de inspiración y nos empujará a proteger con más fuerza todo lo que estamos viendo por primera vez o lo que volvemos a descubrir. Más información.

Inauguro esta sección de Fakes de famosas, donde os pondré cada vez que pueda y quiera algunos fakes de algunas de las famosas que más me gustan.

Y empiezo por poneros algunos fakes de Belén Rueda, que me da mucho morbo.

Espero que os hayan gustado. Próximamente habrá más de muchas otras famosas y de Belén Rueda, por supuesto.

There is something slightly alarming about the knowledge we do not possess. It’s a primal fear we inherently have based on the basic human principle that if we don’t understand something, then we don’t know whether it has the capacity to harm us. It’s an idea that has shaped our perception of the world, and no matter where or when we were born, who we are in the social stratum, or what we do in our lives, it is a human constant to fear the unknown, the shadow in the corner of human cognizance. Today’s feature, The Orphanage, pits the fear of our own ignorance with an equally alarming situation, the loss of a child. It is a mind-bending supernatural horror film that poses the main character in such a heart-breaking position that by the end of the film I felt mentally drained from thinking about it so much.

In modern-day Spain, Laura is going back home, so to speak. She was an orphaned as a little girl, and now that she has grown into a happy and successful woman with a wonderful husband and a sweet little boy named Simòn, she decides that it’ll be a good gesture to fix up the now-dilapidated orphanage and get it in working order again as a facility for handicapped children. The whole family moves there to help her with this venture, but things are not all what they seem. Simòn begins to converse an imaginary friend named Tomás, a boy he draws as wearing a crude mask made out of a small sack. Simòn begins to act coldly towards her after he starts talking to Tomás, and their relationship becomes strained. This hurts Laura, and her distress is compounded when a woman named Benigna comes to the orphanage with some startling facts about Simòn’s past. It all comes to a head at Simòn’s birthday party, where the two argue and Simòn runs away from her. They can’t find him anywhere. He’s not in the house, he’s not outside, he’s just gone. After an exhaustive search that leads Laura to a serious injury, questions abound about Simòn’s whereabouts. Was he abducted? The strange Benigna seems a likely suspect. Is he just hiding from his mother? Simòn could have hidden anywhere on the expansive plot of land. Or is there something more supernatural at work here? The imaginary friend Tomás might have more to do with it than anyone knows. These are the things that go through Laura’s mind as she searches for her missing son. And as the trail goes colder, she becomes more and more desperate, until the question she is asking might be more painful if it is answered. What will become of our heroine and her lost young boy?

What an exhausting movie! This one will wear you out emotionally. Nobody likes the idea of a missing child, so seeing this film will definitely get your heart racing from start to finish. The Orphanage is a very mature horror in the sense that it doesn’t sink to the lower echelons of the industry (i.e. BOO! scares) to deliver an effective scare. Its terror lies both in the otherworldly happenings of the orphanage itself and in the desperation of Laura’s heart. There is no serial killer, no monsters, no over-wrought American concept of danger and fear, but a more intimate portrait of worry and regret that manifests itself in haunting, frightening ways.

The actors are great, although most of the film rests on the shoulders of Belen Rueda, who plays distraught mother Laura. She is a wonder, a fantastic picture of femininity, perfect in her imperfections. Rueda gets so much out of a character that could have easily been misconstrued, by hitting all her notes just right. The character of Laura is not as simple as we see from the beginning, and watching her relive that character’s past is unforgettable. Of course, her partner in all this is Carlos, played by Fernando Cayo, and he is also very, very good. He is the foundation, the support structure for Laura’s whole world. They have a wonderful on-screen relationship that is highlighted by its brevity. The few scenes at the beginning that feature them together are made precious and poignant after the strain sets in as it would on any relationship when a child goes missing.

I cannot believe this is director Juan Antonio Bayona’s feature debut. A movie so dense, frightening, and moving should have come from somebody much older. Most people think this is Guillermo Del Toro’s film, seeing as his name is taped ALL over the trailers, but he is only producing. Not to say his influence isn’t felt in the trappings of this uniquely Spanish film, with the ghosts and the orphans and the spookiness around it. It actually feels like more of a spiritual successor to The Devil’s Backbone than Pan’s Labyrinth did, and they’re supposed to be parts of a planned Spanish Civil War trilogy! But Bayona makes it his own, with a lot more focus on mood and suspense instead of the ghosts themselves. He actually is very sparing with his moments of genuine terror, but when you see them, you will be very impressed (the first appearance of Tomás is something you have to experience for yourself). I can’t wait to see more from this amazing new international talent in the future.

As I said, The Orphanage is a very mature film, not for fans of horror who are looking solely for the jump-cuts and excessive amounts of corn-syrup blood. There’s heart, there’s emotion, there’s a lot of eerie moments, and you would be hard-pressed to find an American movie like it right now. Which is convenient, because the US has decided to remake this film (TYPICAL!). But before that piece of New Line assembly line fodder comes out, take a gander at this amazing film from glorious España. You’ll be amazed at the quality throughout this film, and if you’re not shocked by the ending, you have no pulse. I give The Orphanage 9 crude sack masks out of 10. A high recommendation!

Tomorrow I’ll be seeing something in theaters, but im so indecisive! Any thoughts, anyone? Let me know!

Sea Inside, The
★★★ / ★★★★

This picture is based on the true story of Ramón Sampedro and his campaign in support of euthanasia which lasted for thirty years. Written and directed by Alejandro Amenábar, although the issue the film tried to tackle is controversial and serious, he’s smart enough to make the film somewhat uplifting so it doesn’t feel at all heavy-handed. Javier Bardem made me feel so much for his character because of his willingness to die with whatever dignity he has left. Being a quadriplegic, he claims that his life should be treated as a right and not an obligation. Therefore, just like any other right, he should be allowed to give up his right to live and not be forced to stay alive by the government and other groups who oppose euthanasia. I thought the most interesting scenes in the film consisted of Bardem interacting with three characters: his lawyer who has her own share of problems that is similar to Bardem (Belén Rueda), a local woman who falls for Bardem (Lola Dueñas) and a nephew that he sees as his own son (Tamar Novas). Each of those three characters are compelling because even though they have their own opinion regarding Sampedro’s situation, not all of them are able to express their complete thoughts. It’s up to the audiences to interpret the three characters’ positions when they’re on their own or not interacting with Bardem. I also enjoyed the fact that both sides of the subject of euthanasia are able to express their arguments. Personally, I support euthanasia because I believe in our individual rights to do whatever we want with our bodies, especially when we’re in a situation where we no longer want to continue to live. But there were arguments here and there that made me question my own beliefs because we are shown that the issue of euthanasia goes beyond moral and legal issues. This is a rich film because its writing has substance that works on multiple levels and the characters have subtlety that will otherwise be missed if one is not invested in the story. I recommend this film to everyone, whether one may or may not support euthanasia, because it offers no easy answer regarding which side is “right.” It’s main goal is to simply show one man’s life and what he stood for.

De multa vreme tanjeam dupa un film non-american. asa ca am profitat de invitatia primita de la zbb-2009.ro si am mers cu Iuliana  (o sa ziceti, wow Andrei iese cu o fosta prietena fara ganduri ascunse) la cinematograful Europa vis-a-vis de Teatrul Bulandra. Doamnele de la intrare nu prea stiau ele ce e ala blog , insa am intrat la film. cam putina lume, am numarat maxim 10 persoane in sala, dintre care maxim 5 pareau a fi bloggeri. sala parea din alt secol, probabil 19, doar ecranul si sonorizarea tradand faptul ca ne aflam in anul 2009. Filmul…bun drama psihologica, pe alocuri horror. Actrita principala, Belen Rueda redeschide orfelinatul in care a crescut, in special pentru copilul sau bolnav de SIDA, care insa isi face prieteni imaginari care duc povestea din real in fictiune. Acesta dispare intr-un mod dubios, creand in Laura, mama lui adoptiva un razboi interior din care sfarseste tragic, in aparenta fericita inconjurata, in propria-i imaginatie de copii, inclusiv de Simon fiul ei. Filmul se incheie cand sotul Laurei, pune flori la placa funerara a Laurei si a copiilor ucisi. Filmului ii acord nota 8,5…Merita vazut. si blogeri veniti bre la film !

The Orphanage (2007)

Warner Bros Picture & Estudios Picasso

Cast; Belen Rueda, Hfernando Cayo, Mabel Rivera

Hehehe… nemu lagi ni satu film bagus. Mungkin dari kalian udah banyak yang nonton. Tapi saya mah baru, hehe. Felm ini kalo nggak salah bikinan Spanyol, punya judul asli El Orfanato. Ceritanya rada beda nih sama felm kebanyakan, dimana kan konflik itu diceritain dulu di awal (kebanyakan). Ini mah beda, secara gitu dari awal sampe tengah diceritain kehidupan Laura, suaminya, sama Simon; anak angkatnya yang bisa dibilang harmonis. Mereka baru aja pindah ke tempat tinggal yang baru, which is panti asuhan dimana dulu Laura pernah dibesarkan. Baru deh, mulai ada keanehan yang terjadi di keluarga mereka. Simon tiba-tiba aja ngaku kalo dia punya teman baru, dan mereka seneng banget maen tebak-tebakan. Weits, jangan salah pikir tebak-tebakannya semudah yang dikira ya… Tebak-tebakannya mirip sama apa yang ada di Blue’s Clues. Tau kan? Bakalan ada beberapa klu yang harus dipecahkan sebelum barang/ hal yang disembunyiin itu ditemukan. Itulah yang dilakukan Simon dan teman barunya. Lalu siapa temen barunya? Dan apa yang membuat Simon menghilang setelah mengenal teman barunya? Apa misteri yang ada di panti asuhan ini?

Well, saya ngerasa biasa aja pas ngikutin cerita ini dari awal sampe tengah. Gak ada teror, dan semua mengalir aja. Beberapa temen (sebelumnya niat nonton bareng, tapi nggak jadi) sewaktu nyobain DVD film ini pun malah nggak sabar buat pindah-pindahin chapter buat nyari poin serem dan ‘mencengangkan’ dari film ini. Sayang, waktu itu nggak ketemu. Mungkin emang filmnya harus dinikmatin. Dan bener aja, ketegangannya datang di saat-saat nggak diduga. Bakalan ada beberapa kekagetan di momen-momen yang nggak terduga. Jret! Ngagetin tiba-tiba, dan saya menikmatinya! Bagus!

Dari tengah sampe akhir, baru deh satu per satu misteri mengungkap rahasia yang terjadi di panti asuhan di masa lalu dan mulai menuturkan petunjuk-petunjuk bagaimana menemukan Simon yang sudah hampir 9 bulan lebih menghilang… Lagi-lagi Laura harus maen Blue’s Clues, termasuk maen Hide and Seek versi bule (catet, bukan versi kita ya,,, yang versi kita mah bedaaa! Hehe!!) barengan sama anak-anak yang tentunya bukan anak-anak biasa (ya iyalah,,, wong mereka bukan manusia lagi) demi bisa menyelamatkan Simon. Terus apakah upaya Laura berhasil??? Tonton aja deh.. Recommended banget lah filmnya, apalagi buat kamu yang pencinta film horor. Dijamin, ketegangan dan kekagetan bakalan kamu rasain dalam sensasi yang beda (??? Bahasa aneh!). Saya aja, kaget berapa kali gitu pas ngikutin film ini. Nggak salah kalo film ini sempet dapet penghargaan yang lumayan banyak di taun 2007, mulai dari Toronto International Film Festival, sampe festival film Cannes. Kesimpulannya, tonton aja. Nggak rugi. Kalo digambarin nih, nonton film ini kayak naik roller coaster… Pelannnn, naikkk… duerrrr! Turun-naik cepet… meluncur perlahan… tenang.. berhenti… Gitu deh.. Kebayang kan??? Oh iya, endingnya juga nggak nyangka gitu… Buruan tontooon!!!

O Orfanato

Não é de hoje que a Espanha nos traz bons filmes fantásticos. Aliás, Hollywood descobriu isso em 2007, premiando com 3 Oscars o ótimo “Labirinto do Fauno”, de Guillermo del Toro, diretor que transita livremente entre Hollywood – onde fez “Hellboy” – e os países latinos (ele nasceu no México).

Del Toro nos apresenta esse “O Orfanato” (“El Orfanato” no original). Diferente da fantasia presente em “Labirinto do Fauno”, o diretor Juan Antonio Bayona nos apresenta um dos melhores filmes de suspense dos últimos tempos.

Laura (Belen Rueda), seu marido e seu filho adotivo (que depois descobrimos que tem HIV), se muda para um casarão, que era um orfanato onde ela mesma morou quando criança. A sua idéia é abrir um novo orfanato, para crianças especiais.

Seu filho, Simon, brinca frequentemente com amigos imaginários. O que ela não sabe é que, ao seu mudar para a nova casa, ele fará contato com os fantasmas que moram ali, que se tornarão os seus novos “amigos imaginários”. E, quando Simon desaparece, Laura resolve buscar todos os meios pra encontrá-lo de volta.

Como um bom filme de casa mal-assombrada, somos apresentados a personagens sinistros com passado ligado à casa, além dos clássicos ruídos assustadores. E, usando a velha máxima do “mais é menos”, o espectador leva sustos e fica num constante clima de tensão sem precisar de muitos recusrsos gráficos na tela.

Não é bom se falar muito, pra não estragar. Mas o final, com suas citações a Peter Pan, é fantástico.

Curiosidades sobre o elenco: na equipe de “caça-fantasmas” que vai até a casa, além de Geraldine Chaplin, filha do próprio Charles Chaplin, como Aurora, a vidente que vê os fantasmas; está Edgar Vivar, conhecido aqui como o Sr. Barriga do Chaves.

Filmão. Recomendo a todos que gostam do estilo.

Más fotitos de esta madurita despampanante, y que se lució muy bien en los Goya, que fueron el pasado Domingo, en fin que las disfrutéis.