Welcome to the ninth of the chronicles that we will be dedicating day after day to the 55th edition of the Sitges International Fantastic Film Festival. We continue.’Hola‘ – Precious coming-of-age with the soul of a frustrated video clip that loses strength as it (does not) develop, until it reaches its end without gas or spark, and what is even worse, with nothing to propose that goes further all of the slogan printed on a T-shirt that you can buy at Zara. In the end, little more than a matter of style, repetitive and that constantly revolves around the same thing, condemning the brief but constant daydreams of its protagonist to be an ephemeral anecdote (and of little depth). *****’Down to the Bones: Bones and All‘ – Road movie with a romantic cut, reminiscent of Clint Eastwood’s cinema and seasoned with a cannibalistic point that, after two long hours dizzying the partridge, resorts to Mark Rylance in bad manners to get unstuck and force the story to get to where it was easy to assume that he wanted to get there from the beginning. It is seen, always under the guise of being a serious and mature work more than entertaining, although it does not explode, keeping its intended emotional impact to a minimum. ******’Inu Oh‘ – Colorful animated musical around two Japanese artists of the fourteenth century who are little known today due to the scant information that exists about both of them. It could pass for being a biopic of someone who, like David Bowie, defied the conventions of his time, reinforced by the magic and energy of a 2D animation without fear of experimenting while accompanying the music, oh, always the music, at times. so present as to seem like a concert and mistress of the most vibrant moments of the show. *******’Cut!‘ – Do you remember ‘One Cut of the Dead’? If so, if they have seen it, they have nothing here to (re) see. If this is not the case, here you will find a good substitute… to call it something. Michel Hazanavicius defines the most base version of the term “remake” with this well-off “copy” that tries to pass off as its own all the inventiveness of a Japanese original, of course, more authentic. He depends on whether or not we know said original to assess this prideless photocopy, whether in a cheerful color or a sad black and white. ***** PS: Here is the record of this 55th edition. Continue… By Juan Pairet Iglesias
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