Sunday , April 18 2021

The premieres of the week: The girl on the web and the attractive The Bed

Widows, United States

An attack that goes wrong, very bad, leaves the widows of the aggressors in trouble. On the three women (black, Latina, blonde) fall debts, threats of the Mafia, bankruptcy. When the wife of the leader (Viola Davis) find the notebook of your deceased, with the meticulous plan of the next coup, summons the others to perform it together. The premise of the new film by Steve McQueen, 12 years of slavery, written with Gillian Flyn (the author of Lost), is attractive.

As much as its cast and its exciting first part, it runs through politics, darker interests, violence and social bills, in a Chicago not at all postcards. And, of course, female empowerment, which takes the stand to survive the trend left by its men, as in a glamorous version of Eight of the ocean. McQueen's "coral" bet, however, leaves behind some interesting secondary characters to follow along with its protagonists, while the result stretches more than necessary and crosses the branches, with twists even more unlikely than the question . central bank, and interest-diluting disclosures. Drama, social commentary, feminism and the police genre. The one that covers many small grips.

Directed by: Steve McQueen Cast: Viola Davis, Colin Farrell, Robert Duvall, Michelle Rodriguez, Liam Neeson, Lukas Haas. 129 minutes

The Spider Girl, United States / United Kingdom

The saga Millennium is alive, with the new author, David Lagercrantz, after the death of its creator, Stieg Larsson. Also with a new face for his famous justice hacker, Lisbeth Salander, who is none other than the actress of the moment, the British Claire Foy. And with a director, Uruguayan Fede Álvarez, with enough ideas and talents to make such a product mainstream (seven million copies sold of "What does not kill you strengthens you"), a fun and cinephile show. A director who is the best in the movie.

Cyber ​​criminals, corrupt officials, and well-spiced spies cross Sweden in the way of Salander. Dedicated to rescuing and avenging beaten women, punk Lisbeth takes a solitary and clandestine existence, but when the fire points to her lair, she will have to contact her friend, journalist Mikael Blomkvist (Sverrir Gudnason) again. In this soup, Alvarez resolves action scenes with creativity and brilliance, fulfills the promise of entertaining and finds, in the committed Foy, a partner capable of adding intensity and nervousness. The girl in the cobweb is seen with the pleasure of a product designed to have fun until its final hitchcockiano stretch. And it shows, in complex sequences and intimate scenes, the presence of a director who knows, manages and enjoys the language of cinema. I had already shown this Dead Evil and it's more personal No Breaths, awesome successes (the first cost 10 million and raised 100; the second cost 15 and he raised 160) that he was paid his apartment right in Hollywood.

Address: Fede Álvarez. Cast: Claire Foy, Sverrir Gudnason. Sylvia Hoeks, Lakeith Stanfield, Claes Bang. 115 minutes

Gentle rains to come, Argentina

What do children do when their parents do not see them? Certainly things very similar to those of the great protagonists of this film, a rarity that crosses the fantastic with children's stories, whose pages open different moments of history. The director, Iván Fund, follows the cast of his children in developing this minimal argument: for some reason, we do not know, parents, grandparents, responsible adults, are asleep and do not wake up. And the boys, without being alarmed, continue to make their lives by themselves. Accompanied by a pair of dogs, playing, telling stories of fear, eating together among the remnants of tables no one raised because the world seems to have stopped, the streets are empty and there is none beside them.

Soft rains will come It is not a drama, but a playful observation of moments in the strange hours of these children of different ages. So absorbed in his characters, hunter of extraordinary moments of life, tenderness, candor and childlike brilliance, leaves the camera in them as they run, laugh, or get bored, wrapped in a song that emphasizes the sense of duplicity that the whole movie conveys. : rarity and placidity, anomaly and total normality. In this way, he gives images of great beauty, with the naturalness of the boys, loose on the outskirts of a provincial city.

Address: Fundo Iván. Cast: Alma Bozzo Kloster, Simona Sieben. Florence Canavesio. 81 minutes

The bed, Argentina

It is likely that The bed It's not a movie for anyone. The director makes clear, with his opening, a scene of eight long minutes of an older, naked couple, trying unsuccessfully to make love. It's a scene that might botherof course, but whose setting (a framing outside the bedroom door, a light that equals everything we see, a silence that provokes) dazzles.

The bed is that: different, minimalist scenes, between a wedding in which it may be their last day together, wandering, mostly naked, their bodies from the sixties exposed without confusion, for a house too big, as they say in one of the few dialogues they hold. Certainly everything is said between them, and the exchange is reduced to practical matters, though through them Of course the affection is still there. With courage, honesty and elegance, Lairana and her two only actors, Sandra Sandrini and Alejo Mango, have achieved a powerful and subtle film, which invites us to reflect on the links, regardless of age.

Directed by: Mónica Lairana. Cast: Sandra Sandrini, Alejo Mango. 91 minutes

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