Faith Matters Facing a movie as the last of Javier Fesser leads to more efforts that are being necessary. We esforzarno to forget our prejudices towards the issue, the English film director ol previous work (the insufferable Mortadelo and Philemon). We must strive to crown a summit of more than two hours walking to reach a hospital where the end is a light or the lack thereof. We must overcome the fear of death itself, to the beliefs of others and the dark and sinister true story in which underpins the argument. We must transcend the earthly business of those who curse the movie without having seen and having nothing good to say. We subtracted from the official view (ist) stupid and crude to the criticism of excessive shyness and other derivatives of the free determination. We must defeat the need (if) ty of negative hatched in the cool shadow of our doubt sublime performance of a film brave, amazing and groundbreaking.
Its premise is simple, and meets a religious sense of sacrifice count and count well. For this Fesser poses a realistic story based on a known fact, but passed through the sieve of the gaze itself. Just the same process followed by Jaime Rosales shot in the head but in different ways. While the director seeks Catalan default communication (things do not look good, the dialogues do not hear anything, many of the scenes are incomprehensible in both senses of the word), the excess makes Madrid, displaying even dreams and operations, even repeating phrases of dialogue (I mean the final parallel montage) and chartered planes composing different information nature. There are two ways to make what we know (we know the end of the two films) from two different records of fiction. Fesser opts for a classical narrative forms but are close to the nearest visual neobarroquismo Gilliam or that Jeunet Greenaway and Ken Russell and already cultivated in his short and in his first two films.
That does not prevent the film can be viewed as a genre film and even choose, if desired, the genus to which it belongs. The comedy punctuated by snappy dialogue and hilarious situations, even in the terrible disease. The gloomy and terrible drama of a girl confronted with circumstances (An incurable disease) and an environment that does not understand. The tragedy, Barrio de Salamanca over to Greece, and a family doomed by adversity to live with the death of their offspring over and over again. The horror of the demons that live in dreams and in waking and fear and evil become good feelings and wishes. The musical where everything positive becomes dancers improvised a beautiful song ended in a kiss. Science fiction where thieves of souls, coming from an imaginary planet, conquer the land with the passivity and conformism of some humans who prefer to cling to a lie before, that courageously face the daily routine of living award. And it must have everything in the house of the Lord. Mr. Fesser, in this case.
Way is only the beginning and at the same time the end of a lot of prejudices that we sometimes have to face up to our own comments. And it is still one of the most radical proposals (which is the root, in principle, anchor and food) in our film, one of the works to increase awareness (which comes from knowledge, understanding and society) to overcome the shortcomings endemic and self-referential framework of the status imaginary village which receives grants and holds parties. Camino is a rara avis hard to label, a film instead of turning on itself meanings are open to close, attentive but rebellious, drifting open the viewer's personal experience. Therefore it is made for the public rather than to the critic who wants to forget that is also public. The final plan, monumental conclusion that no fuss is positioned on the side of those who believe in the image (which see) rather than talk, makes the point and continued to work from now on I'll follow. In this work, even with your eyes open. Question of faith in the film ... and in humans.
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