One problem, many points of view in-depth but not correlated
America has no British workers by Ken Loach, did not the poor, desperate criminals or the Dardenne brothers in the suburbs of French cinema, but more than any other immigrant. A reality that confronts the country for decades and is the true frontier of social cinema in the United States. The
derelicts who try to intrude and become impossible travels outlawed (but in America!) Trying to escape a suffocating poverty however, are only part of the heart of Crossing Over, an ensemble film that, as is typical of most recent film, plans to tackle a problem by proposing a point of view but through the presentation of its "depth" that is, the different forms that can take.
Kramer chooses to do this the shape of the film group (only Eastwood to achieve the same purpose could dare a double feature with two different points of view), a genre that, contrary to past examples of Hollywood seems ever more appropriate to measure the 'relevance. Instead of addressing the feelings of today's ensemble film deals with social problems, the more sense it does not come from words that are pronounced differently but from report that the stories together.
Who and why now dreams of becoming American?
We are not in front of the complicated puzzle that Arriaga has often staged alongside Inarritu but more from the parts of many stories also connected by a wire bland as we saw in Crash, in traffic or take another recent example in Look Both ways. Crossing over
shows us the different characters of which only two Americans to really (Harrison Ford and Ray Liotta) intent on trying to become Americans. In this sense it is a film about a process, a change of condition, the same condition that for decades U.S. citizens have always been praised as the highest aspiration for everyone ("We must hold on son will not be passed until this peace craze and you have to fight because inside every gook there is a man who dreams of becoming American, "said a senior official of Full Metal Jacket). The land of opportunity, perhaps this is still (and the solemnity of the Swearing-in ceremony of the finale seems to suggest) but to be part of those who may have them those opportunities is becoming increasingly difficult.
There are those who deceive, those who buy, those who kill and those who may be killed to become American, and even those who do not by the advantage that it is raining in my head. With this idea of \u200b\u200bcomposite landscape Wayne Kramer (also writer) will talk about integration, increasing globalization and above Post 9 / 11. A theme has many applications and different problems and although it is not possible to address in depth all the ensemble film aims to put the viewer's eyes in the variety of the spectrum of situations, tone and outcome. A story can act as a metaphor, a paradigm, but more stories trying to get closer to reality.
The choral society is the American
Crossing over to the model of the ensemble film seems more appropriate than ever because American society is the same choir, composed of reality that is at times light-years away not only by income and lifestyle (which also happens in other countries) but in origin, ethnicity, values \u200b\u200band life goals. How would you describe the problems of entering the country with a history and whether any elements of crisis are so many and so different?
fact does not escape anyone who pretends to like the young cleric of the church receives the aid of its Jewish community to try to circumvent the system and how the young Muslim guilty of having confessed to "understand" the motives of the hijackers of eleven September in a school essay but is mocked by all without receiving the support of anyone. It is no coincidence that once again the Mexicans die in the silence of the desert trying to travel impossible while the rich try to speculate on the input beautiful girls and important Middle Eastern families do not know how to leave behind some traditions do not like in Western countries.
emerge from this crucible of the specific Crossing over the rest of the ensemble film, not the will to show a single and coherent group of stories that run into the same point (which is what happens in the films of Altman and Anderson), but plots from a single party to go in different directions and never meet, as the communities that make up the United States, so far as not to meet. They have no relation to each other the rich and the poor Korean Mexicans are not like country musicians in Nashville, yet share the same problem. Only that the person who will always more and who has not will always have less.
America has no British workers by Ken Loach, did not the poor, desperate criminals or the Dardenne brothers in the suburbs of French cinema, but more than any other immigrant. A reality that confronts the country for decades and is the true frontier of social cinema in the United States. The
derelicts who try to intrude and become impossible travels outlawed (but in America!) Trying to escape a suffocating poverty however, are only part of the heart of Crossing Over, an ensemble film that, as is typical of most recent film, plans to tackle a problem by proposing a point of view but through the presentation of its "depth" that is, the different forms that can take.
Kramer chooses to do this the shape of the film group (only Eastwood to achieve the same purpose could dare a double feature with two different points of view), a genre that, contrary to past examples of Hollywood seems ever more appropriate to measure the 'relevance. Instead of addressing the feelings of today's ensemble film deals with social problems, the more sense it does not come from words that are pronounced differently but from report that the stories together.
Who and why now dreams of becoming American?
We are not in front of the complicated puzzle that Arriaga has often staged alongside Inarritu but more from the parts of many stories also connected by a wire bland as we saw in Crash, in traffic or take another recent example in Look Both ways. Crossing over
shows us the different characters of which only two Americans to really (Harrison Ford and Ray Liotta) intent on trying to become Americans. In this sense it is a film about a process, a change of condition, the same condition that for decades U.S. citizens have always been praised as the highest aspiration for everyone ("We must hold on son will not be passed until this peace craze and you have to fight because inside every gook there is a man who dreams of becoming American, "said a senior official of Full Metal Jacket). The land of opportunity, perhaps this is still (and the solemnity of the Swearing-in ceremony of the finale seems to suggest) but to be part of those who may have them those opportunities is becoming increasingly difficult.
There are those who deceive, those who buy, those who kill and those who may be killed to become American, and even those who do not by the advantage that it is raining in my head. With this idea of \u200b\u200bcomposite landscape Wayne Kramer (also writer) will talk about integration, increasing globalization and above Post 9 / 11. A theme has many applications and different problems and although it is not possible to address in depth all the ensemble film aims to put the viewer's eyes in the variety of the spectrum of situations, tone and outcome. A story can act as a metaphor, a paradigm, but more stories trying to get closer to reality.
The choral society is the American
Crossing over to the model of the ensemble film seems more appropriate than ever because American society is the same choir, composed of reality that is at times light-years away not only by income and lifestyle (which also happens in other countries) but in origin, ethnicity, values \u200b\u200band life goals. How would you describe the problems of entering the country with a history and whether any elements of crisis are so many and so different?
fact does not escape anyone who pretends to like the young cleric of the church receives the aid of its Jewish community to try to circumvent the system and how the young Muslim guilty of having confessed to "understand" the motives of the hijackers of eleven September in a school essay but is mocked by all without receiving the support of anyone. It is no coincidence that once again the Mexicans die in the silence of the desert trying to travel impossible while the rich try to speculate on the input beautiful girls and important Middle Eastern families do not know how to leave behind some traditions do not like in Western countries.
emerge from this crucible of the specific Crossing over the rest of the ensemble film, not the will to show a single and coherent group of stories that run into the same point (which is what happens in the films of Altman and Anderson), but plots from a single party to go in different directions and never meet, as the communities that make up the United States, so far as not to meet. They have no relation to each other the rich and the poor Korean Mexicans are not like country musicians in Nashville, yet share the same problem. Only that the person who will always more and who has not will always have less.
by MYMOVIES.IT of 26/06/2009
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