It is common for sunsets to be attractive, to deserve attention. The falling sun remains powerful, its light, nuanced, maintains its blinding quality, it is easy to burn your eyes seeing it. The twilight light is great, beautiful. The impression that it provokes has been the origin of legends (the book of Am-duat) artistic movements (Paris at the end of the 19th century), in Psalm 65 it is celebrated as a manifestation of the benign power of God.
However, in human beings, the twilight of life turns out to be a burden. Most people do not live beyond 70; the most robust (or lucky) turns 80. Those twilights are long, elusive, in some fruitful lives (Cervantes, Bergman) in all they are hassle and work.
The Cárdenas couple (Laura Amelia and Israel) have allowed us in their third feature film to attend a long twilight (the duration of the film does not exceed an hour and a half, but it is not common to devout a movie to old people) that of an acting lady who could have been a movie princess. With her voice, worthy of any theater, she tells us her story that of the young filmmakers is told in images, visual, sound, twilight. The advent of video and digital post-production techniques has allowed entry to the light spectrum that is in the very small range of the visible (the dreams of Rembrandt and Caravaggio move in front of us). One of my favorite points in the film, if a sunset is narrated to us, it will be necessary to show dark moments, such as the one that closes the story (a bite, which Laura claims to be true) and that works as a false climax in the tradition of the best Hollywood screenplays.
After a walk in the mountains, the film closes with a reminder of the power of the word, the power of communication, of dialogue, when it is done wanting to express the truth.
This film is a triumph in the careers of the young filmmakers, a talent that we hope will be able to make themselves known more and more and that this project (halfway between the genres, as good cinema has always been: Flaherty, Guerin) can enjoy a trajectory in the distribution windows of new media and can be made to reach all lovers of actress and sunsets.
However, in human beings, the twilight of life turns out to be a burden. Most people do not live beyond 70; the most robust (or lucky) turns 80. Those twilights are long, elusive, in some fruitful lives (Cervantes, Bergman) in all they are hassle and work.
The Cárdenas couple (Laura Amelia and Israel) have allowed us in their third feature film to attend a long twilight (the duration of the film does not exceed an hour and a half, but it is not common to devout a movie to old people) that of an acting lady who could have been a movie princess. With her voice, worthy of any theater, she tells us her story that of the young filmmakers is told in images, visual, sound, twilight. The advent of video and digital post-production techniques has allowed entry to the light spectrum that is in the very small range of the visible (the dreams of Rembrandt and Caravaggio move in front of us). One of my favorite points in the film, if a sunset is narrated to us, it will be necessary to show dark moments, such as the one that closes the story (a bite, which Laura claims to be true) and that works as a false climax in the tradition of the best Hollywood screenplays.
After a walk in the mountains, the film closes with a reminder of the power of the word, the power of communication, of dialogue, when it is done wanting to express the truth.
This film is a triumph in the careers of the young filmmakers, a talent that we hope will be able to make themselves known more and more and that this project (halfway between the genres, as good cinema has always been: Flaherty, Guerin) can enjoy a trajectory in the distribution windows of new media and can be made to reach all lovers of actress and sunsets.
