Jordan Peele continues to surprise and make us think: Now in his third feature film, with No, the American director continues on the excellent path of his two previous works, Escape – Get Out and Noe.
At the center of the story are a brother and sister, OJ and Emerald, who run the family farm with their father, Otis.
When the parent dies, from being inexplicably struck by a nickel that fell from the sky, the two inherit the property: while trying to keep the family company, they begin to sense a mysterious presence that seems to come directly from the sky above their home. Emerald believes something paranormal is involved and convinces OJ to install cameras on the farm in hopes of finding out what’s going on around them.
Among the most anticipated titles of this year, “La” not only disappoints expectations, but also manages to exceed expectations with an interesting and entertaining story, accompanied by an editing capable of giving a perfect rhythm throughout the duration (approx. 135 minutes) and a series of sequels that were not spared from fierce criticism. For the “image society” we live in.
A very intelligent and objective film
Compared to the two previous films he’s already mentioned, Bell doesn’t think much about racial issues (although there are ideas to that effect as well) but gives room for very important social reflection. No is a very intelligent and very objective film in the world of show business: it is a film on the eyes of all of us as contemporary viewers, more hungry for images to photograph, record and archive in our digital spaces. Although it is a subject that has been dealt with a lot by cinema in recent years, Peele manages to give new life to the subject through a series of original and personal narrative and stylistic choices. However, “No” is also a film “about cinema”, as evidenced by the fact that the main characters are the descendants of the jockey whom Edward Muybridge’s cameras filmed at the sprint race in 1878 in one of the first experiments with “moving pictures” in history and at one of the key stages To come close to the invention of the seventh art.
The third piece of evidence can only be provable: Peele is for all intents and purposes an author and one of the most important names in American cinema today.
Another disturbing and highly anticipated movie recently appeared on Amazon Prime Video: “Possessor” by Brandon Cronenberg, son of the famous David. The protagonist is Tacia Voss, an agent employed by a corporation that possesses technology capable of controlling psychomotor and psychomotor skills. from other individuals. The goal is to turn unsuspecting victims into unscrupulous killers, on behalf of ultra-wealthy clients. After debuting with “Antiviral” in 2012, Brandon Cronenberg continues to tell stories that can also be associated with heavy parent cinema (the body theme, in this case), while still managing to have a personal touch. The visual talent is there, but in this story that promises too much at the beginning, there are too many hyperbolas and too many dim sequences to never fully reach. Satisfying conclusion: the eye-catching beginning and ending are very suggestive, but in the middle there are many moments straightforward and a little too conventional for the genre they belong to.
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