Ricorda, caro mio Sancho, chi ha di più deve fare di più.
Sono profondamente d’accordo. Potesse
spiegarglielo Quijote agli “ospiti” dell’hoyo.
Goreng (Ivan Massagué) però lo sa bene. Ha scelto di portare con sé proprio il libro di Cervantes. Divide la stanza al 48esimo piano della Torre con il vecchio Trimagasi (Zorion Eguileor) e ogni mese si svegliano collocati in un piano diverso: chi sta più in su ha accesso ad una maggiore quantità di cibo, chi sta giù deve accontentarsi degli avanzi ma i poveri diavoli del fondo sono costretti al cannibalismo per sopravvivere, talvolta al suicidio a causa dell’ingordigia di chi sta sopra di loro. Il numero dei livelli, tuttavia, rimane sconosciuto.
Continua la lettura di “EL HOYO – THE PLATFORM” DI GALDER GAZTELU-URRUTIA
Article by: Roberto Guida
Translated by: Giorgia Bellini
Remember, my dear Sancho, who has more needs to do more.
I totally agree. I just wish Quijote could explain that to hoyo’s “guests”.
But Goreng (Ivan Massagué) knows it well, in fact he chose to take Cervantes’ book with him. He shares the Tower’s 48th floor room with the old Trimagasi (Zorion Eguileor), but every month they wake up on a different floor. Apparently, only who is on the highest floor have access to food, while people on the lower floors have to feed on the leftovers, and the poor devils at the bottom are forced to cannibalism in order to survive – or, even worse, to commit suicide due to the lack of food. Still, the number of these levels remains unknown.
Continua la lettura di “EL HOYO – THE PLATFORM” BY GALDER GAZTELU-URRUTIA
Versione inglese a cura del Master in Traduzione per il Cinema, la Televisione e l’Editoria Multimediale
Article by: Roberto Guida
Translation by: Emanuela Ismail, Valeria Tutino
Jennifer is the sweetest Lolita: beautiful, sexy, with a flirty attitude. She provokes the deepest desires in her lover, a rich businessman, and in his two business partners, that have met for a hunting trip in a luxurious mansion between the canyon and the desert. Waking up after a night of partying, the young woman suffers an assault and decides to run away, sparking the rage of the three, who run after her in the desert and throw her down a cliff, leaving her for dead. Shortly after, the hunters will find out, at their own expense, that they have become preys: Jen, who has survived and is even more fierce, will find them one by one and she will get her own raging and gruesome revenge.
Continua la lettura di “REVENGE” by CORALIE FARGEAT
Jennifer è la più dolce delle lolite: bella, sexy, ammiccante in ogni suo atteggiamento. Suscita i desideri più reconditi del suo amante, un ricco uomo d’affari, e dei suoi due soci ritrovatisi per una battuta di caccia in una lussuosa villa tra i canyon e il deserto. Al risveglio da una serata di baldoria la giovane donna subisce una molestia e decide di scappare scatenando l’ira dei tre che la rincorrono per il deserto gettandola al fondo di un burrone, convinti di averla uccisa. Ben presto i cacciatori scopriranno a loro spese di essere diventati prede: Jen, sopravvissuta e agguerrita più che mai, li troverà uno ad uno e otterrà la sua feroce, cruenta vendetta.
Continua la lettura di “REVENGE” di CORALIE FARGEAT
Article by: Luca Richiardi Translation by: Cristiana Caffiero
Life is surreal.
There are movies with no soul which just try to step towards any directions without a reason. There are movies that are just empty and dreary. Well, this movie is just their opposite. “Tag” is directed by Sion Sono: it violently breaks in and manages to find a sharp conclusion both in a literal and figurative way. It confuses the feelings and perception of its audience but it doesn’t hide the fact that it has lost the sense of perception itself. This film needs to show its total dismay in order to penetrate the subconscious side of its audience and finally break through its conscious one. However, “Tag” is not addressed to an ordinary audience, for the simple reason that the movie is directed by Sion Sono. It’s a typical Japanese film with its peculiar artistic language which could by perceived as unfamiliar by a western audience, or at least by an audience not acquainted with Japanese pop culture.
This kind of audience might fail to notice the potential for social criticism hidden behind an excess of grotesque violence, which may appear then as empty divertissement: what has been defined, in jargon (particularly in the world of anime, manga and videogames enthusiasts) sa fanservice.
What exactly is fanservice? Excessive and pointless violence, schoolgirls in extra short miniskirts which are constantly lifted, eroticism, promiscuity, reification of the woman.
“Tag” contains all these elements. It’s thrown onto the screen in a shameless, exaggerated, intentionally provocative way, as if to ask: “Is this what you want?” As the film unravels, laughing at all this becomes a gesture that makes the spectator feel guilty.
This collage made of absurdities, which people may have fun in, is a heaven for “nerd” teenagers and hides a cruel and dreadful hell. It reveals itself step by step, while we follow the young female protagonist Mitsuko in her absurd suffering.
Among all this violence, torture and death, her loss of identity is what mostly harms. It makes her appear to be an empty box or a mannequin identical to many others. She looks as a figure, whose not uniform nature may be compared to that of Jesus and therefore doomed to sacrifice. It is a kind of essential sacrifice, a spontaneous gesture which gets away from this torture pattern felt as a function of a sadistic pleasure. And it takes place exactly in front of a parody which blames and despises these masses of obsessive fans.
What is such a heroic sacrifice aimed at? It is understood, its aim matches the film’s one: a sabotage internal to the system so that it can penetrate deeper and, hopefully, it can be able to reach and consequently wake up consciences, in order to take them away from this grotesque circle of hell.