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Echoes "MY BROTHER GUN, RAY LORIGA: 'Liquid boy' .. & 'No mand's land * Americanized adaptation, and decision-making style

Mummy Was a waitress dressed in tangerine,
daddy she found in a can of sardines.
Liquid boy, you know all the stories,
it´s been there since the first cold morning.
So blue, blue, blue,
gonna try with glue.
Baby, it´s dry, dry, dry,
I hate you when you cry.
No more bitter cherry juice,
give me something that I can´t lose.
--
"GLUE", (Cristina Rosenvinge).


La literatura algo deshecha, con la belleza de metáforas so visual, these 'gifts for the eyes' (which reads), amid a tangle of characters Loriga vulnerable .. can happen in one step at a screen, but much more remains latent in the novel, no doubt, that root and spirit highly beat everything younger, dignified, that advocacy of rebellion, the thrill of the landscape. .. not easily translated into images such metaphors ... verbal can become, even in a bad sort of oral tradition, when there about actors playing these 'thoughts waste. " Almost as if it were a 'bad painting' to painting or the same name applied to embody musical voices and arrangements Desfina distorted as Nick Cave & The Bad Seeds , that kind of apology d elo imperfect, the nod to well done, that something that just is also interesting (and I think you try to copy, but without success) to Cristina Rosenvinge.

Of course, I must say: I love the theme of "Liquid Boy" and how it uses and loads of atmosphere mood / music throughout the film, with such bases The Sonic Youth Ray to give away this movie generational teenager like them, and that precisamte filled those spaces that remain empty in the passage from the novel to the screen. These distorted guitar playing and go very well accompanied with a story that is taking flight dyes to their final destination.
After the screening, Ray itself, with its aura teen-named the film references that were his when he made the film, and named among them Godard , but in reality to what reminded me most was to "The 400 Blows" of Truffaut ... Anyway, this strange journey whose ultimate aim was the beach, remember, in their sentimental value and that child dramaturgical llegando por su propio pie al mar; lo absurdo y la indiferencia como manifiesto de opinión, o de falta de pulsión, un estado de ánimo que no se verbaliza, de ser perdido que no encuentra su sitio, de 'terrible enfant' -el entonces crío Jean-Pierre Leàud , el alter ego de Truffaut , como, probablemente, el protagonista de "La pistola de mi hermano" de Ray-; paralelismo también por esa reflexión acerca de la violencia, sin moralinas ni culpables... El otro día Ray se mordía las uñas en la Academia de Cine en una ronda de preguntas que no le apetecía contestar -quizá queda ya muy lejos una película who is 14 years o. .. not let him concentrate failure feel to be in the 'right place right time ' and something stirred by not watching the game. At one point, as a little revenge, or brake to the retail of questions about how I can take an adventure supported by professionals and adapt his own novel (something unheard of in our history of cinema and literature adapted, that is true), claimed to be 'a filmmaker nobel, not a filmmaker idiot' ...

Anyway, I remembered "Fallen from Heaven" as a small-big-history, a unconditional admiration of one brother to another, that gets (almost without realizing it, or an almost silly, as an act of provocation) in trouble and just run from the law, and how the brother who stays on the mainland presence this flight, this transformation inerior in the distance, feeling the only possible outcome of this journey of no return for the EU becoming legend, and for others a bad example. All with a huge intensity ... Here in "my brother's gun" but only see two guys. Who smoke and drink together, but there is something strange and confusing that makes them seem brothers. I do not know if it is the actors' physical As they moved away, as if they were not the same father but still we did not know, what is the distance that separates them ... Even the way they are treated, that sort of Fascínio that it is his 'brother', the fact that perhaps you will find the pool leaves everything in a very GusVanSantiano climate would be more logical interpreted as a platonic love, a non-story -of-love gay . There is a very representative conversation in which the brother says it looks like one of those stars that make them a report and record them walk as if they knew. He asks if that is bad and the brother says, " No, I like ."

Another thing that strikes me a lot of attention is the image of the father on fire entering the room and lets her son a gun. It is an immense brutal beauty, a memorable metaphor, even a landmark images of English cinema, as is that of Ana Torrent with Frankenstein by the river in "The Spirit of the Beehive" , of Erice - were it not for the quality of the rest of the contradiction, in that sort of 'bad style' underground, but Alcaine photography; the Americanization of the story, in their treatment and in context, corners picturesque and places in any part of the English geography.
The rest of the cast is wonderful: Mortessen Vigo, before being a celebrity as a secondary character that enriches the history Erejalde Karra, in another great role, embroidering a kind of Lt. Hal ( Harvey Keitel) of "Thelma & Louise" that seems to have a different perspective and key facts of history , and Anna Gallienus that wherever he goes, in a strange way, fills everything. And Achaeans here is a mother who calls puffs of cigarettes to children, who knows if fumárselos laziness alone. True
is difficult to know whether Ray Loriga is or not, a good filmmaker. "Teresa, the Body of Christ" is wonderful, in my opinion underrated, but comparing difcild not be previously a novel, and having the opposite style: sophisticated, almost theatrical staging a large, formal , etc. everything here seems to deny that. And this only know (or could guess the better) in a third film act as decision style and position, but in reality is not always the case: see the case of Michael Winterbottom , no doubt, a great filmmaker, has gone through all genres and styles, a 'filmmaker calidoscíopico' in an ongoing experiment, which seems to define the platitudes that would provide a style / seal, as the public's ability to recognize, as something that encompasses and gives his own way.

back to Ray Loriga, the memory of a little talk in the framework of the workshop warning against the use of metaphors free, if you can get, or not carry the halo how well managed in the literary to the visual .. is at the discretion of each, in the case of this debut, which, without anything particularly memorable, it makes something that does not forget, a state beyond the plot attaches great importance and prints a strange character to character, blending fiction and reality ... something which, incidentally, reminds me also of all those classic road movie in which they could base d elas he could catch, another, another way: the "Ça burn" of Claire Simon (which at the time I posted), the physicality, and all that contemporary French cinema apathy that has no need to explain things or nothing happens, nothing special or particular to that will support a story, also has many of the independent narrative minimalism Buffalo 66 " of Vincent Gallo -gem if there ever was, by the way you relate to memory, to keep the character as being unpredictable, as a kind forever unknown, distant, shy, asocial ... It seems Loriga cinema will be part of a trend or way of doing that, at intervals, much like me or me away: that 'movie does not in anyone hand', rather, allows each viewer to wide, demabular the landscape, characters we do not understand, nor understand those stops in the middle of a bus journey in the vicinity of such restaurants side street, always full and always empty, always become so eternal ... That each one lives in a manner and with a time, a little experience. Film no frills, presumably sincere, without violins that make us fall tears or characters to identify. All that 'no man's land'