For a long time, I would say that even today, the English word is a word which has become the adjective, so that, to write to right word film expression acquired English cinema film genre dyes. A genus that, moreover, it has become associated with the image of Swedish chasing little gentleman, that of the woman who, at the first change, removed a breast and the phenomenon embarrassing and fratricide that was the English Civil War .
For my part, I see English film because I believe in its existence, in the same way I do not think there the American cinema, French cinema , the Italian film , ... and stop here because, otherwise the list is endless. Directors
English and Victor Erice , Luis Miñarro , Jose Luis Guerin , Jaime Rosales, Daniel Monzón , Albert Serra, Isaki Lacuesta, Mar Coll, Luis Buñuel or Luis Garcia Berlanga have been responsible for giving me the reason and had demonstrated, through their work, the English film there. In Spain, like the rest of the world, which is done is film. Sometimes auteur, other genre films . Sometimes it is better and others worse, but what is done is film.
So I do not see English cinema. I only see movies and especially in the case of shot in Spain, I try to do so without prejudice. Elisa K
is a work of those that allow the film shot in our country to shake off the stigma of Landismo and reminds us that English directors are able to undertake enterprises that have nothing to do nor the civil war or the scatological humor with which we ourselves, we tend to identify our cinema. Elisa K
is a daring work. A short leaflet original filmed by the pair of directors consisting of Jordi Cadena and Judith Colell .
The film, with a masterful use of ellipses, is structured into two distinct parts shot in different styles, each, for each of the directors.
During the first part, equipped with a carefully staged and a spectacular black and white photography, shot by Jordi Cadena , we meet Elisa its 11 years. Guided at all times by an unknown and omnipresent narrator emphasizes the literary origin of the story and that sometimes come to anticipate the action, we will see the idyllic day, once every two weeks since the separation of their parents, enjoy Elisa. At this time a terrible event will take place along this journey. An event Elisa bury them (in) voluntarily in the depths of his mind.
After an ellipsis in the fourteen years that we return, with the help of Judith Colell this time, and in color, the life of Elisa and contemplate in their pleasant existence living abroad and sharing a flat with a friend. Suddenly and without really knowing how or why ... Elisa remember.
descriptive markup present in the first part of the film, which had been reinforced by the voiceover, disappears completely in the second part of the story to make way for a narrative marked by intensity. An intensity that is reflected in the long sequence of hysterical crisis experienced by the protagonist (an entire recital interpretive Aina Clotet ) and which will eventually throw up, literally and metaphorically, everything I had hiding / hiding for so long.
What happens to Elisa its 11 years is a sad reality that we find every day in newspapers and the directors of this risky film treatment to completely get away from the melodramatic sweetening with which these issues tend to be addressed. That is why the tremendous event takes place outside the ground, in difficult circumstances to believe (perhaps one of the few buts that can be put to film), and we could even get to think, not that we just announced the prophetic voice-overs, which has not taken place. Elisa K
is a film that, from a stunning and risky, shows the mechanisms by a mind is capable of reaching the deepest buried in a traumatic event and how it, like a delayed fuse bomb, exploded eventually, long after, blowing the existence of the victim and making victim a second time.
But the film is not just that. In its final minutes, in a key sequence, beautifully filmed, we also talk about the color blindness and the misreading of some parents unable to act boldly and children who ask their parents accountable for that reason.
And all this in 72 minutes.
must see.
To view the trailer click here .
English and Victor Erice , Luis Miñarro , Jose Luis Guerin , Jaime Rosales, Daniel Monzón , Albert Serra, Isaki Lacuesta, Mar Coll, Luis Buñuel or Luis Garcia Berlanga have been responsible for giving me the reason and had demonstrated, through their work, the English film there. In Spain, like the rest of the world, which is done is film. Sometimes auteur, other genre films . Sometimes it is better and others worse, but what is done is film.
So I do not see English cinema. I only see movies and especially in the case of shot in Spain, I try to do so without prejudice. Elisa K
is a work of those that allow the film shot in our country to shake off the stigma of Landismo and reminds us that English directors are able to undertake enterprises that have nothing to do nor the civil war or the scatological humor with which we ourselves, we tend to identify our cinema. Elisa K
is a daring work. A short leaflet original filmed by the pair of directors consisting of Jordi Cadena and Judith Colell .
The film, with a masterful use of ellipses, is structured into two distinct parts shot in different styles, each, for each of the directors.
During the first part, equipped with a carefully staged and a spectacular black and white photography, shot by Jordi Cadena , we meet Elisa its 11 years. Guided at all times by an unknown and omnipresent narrator emphasizes the literary origin of the story and that sometimes come to anticipate the action, we will see the idyllic day, once every two weeks since the separation of their parents, enjoy Elisa. At this time a terrible event will take place along this journey. An event Elisa bury them (in) voluntarily in the depths of his mind.
After an ellipsis in the fourteen years that we return, with the help of Judith Colell this time, and in color, the life of Elisa and contemplate in their pleasant existence living abroad and sharing a flat with a friend. Suddenly and without really knowing how or why ... Elisa remember.
descriptive markup present in the first part of the film, which had been reinforced by the voiceover, disappears completely in the second part of the story to make way for a narrative marked by intensity. An intensity that is reflected in the long sequence of hysterical crisis experienced by the protagonist (an entire recital interpretive Aina Clotet ) and which will eventually throw up, literally and metaphorically, everything I had hiding / hiding for so long.
What happens to Elisa its 11 years is a sad reality that we find every day in newspapers and the directors of this risky film treatment to completely get away from the melodramatic sweetening with which these issues tend to be addressed. That is why the tremendous event takes place outside the ground, in difficult circumstances to believe (perhaps one of the few buts that can be put to film), and we could even get to think, not that we just announced the prophetic voice-overs, which has not taken place. Elisa K
is a film that, from a stunning and risky, shows the mechanisms by a mind is capable of reaching the deepest buried in a traumatic event and how it, like a delayed fuse bomb, exploded eventually, long after, blowing the existence of the victim and making victim a second time.
But the film is not just that. In its final minutes, in a key sequence, beautifully filmed, we also talk about the color blindness and the misreading of some parents unable to act boldly and children who ask their parents accountable for that reason.
And all this in 72 minutes.
must see.
To view the trailer click here .
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