Dejando a un lado el hecho de estar académicamente inclinada a la producción cultural coreana, las películas de este país dividido forman una parte importante de mi iniciación en los filmes violentos. Recuerdo querer aumentar la cantidad de películas vistas (siempre ha sido un reto personal) y recorrer los pasillos (físicos o metafóricos) de la secciones de películas internacionales buscando aquélla que sería mi próxima víctima. Si me interesaba el título, observaba la portada y leía detenidamente la sinopsis. En aquel momento no me importaba quién produjo la película, quién la dirigió o quién la actuó. Si me gustaba lo que había en las letras y las imágenes o si había leído algo interesante en la Rue Morgue o en la Fangoria, la selección de la víctima concluía. Ya en mi espacio personal, recibía lo que el filme me diera y esto siempre consistía de emociones que surgían de cualquier extremo imaginable: desde miedo e incomodidad hasta carcajadas y lágrimas de felicidad.
Así fue que en algún momento de 2011 me topé con I Saw the Devil (2010). Tras haberla visto en la Rue Morgue (#108, enero/febrero 2011), la encontré en Netflix y, sin pensarlo dos veces, comencé a verla.
Imagen promocional de I Saw the Devil
Ciento cuarenta y dos minutos más tarde, recuerdo haber pensado: “Yo no estaba lista para este ride.” Continue reading
Today I realized the last two summers I’ve spent most of my time re-watching two TV series I enjoy a lot: Fringe (2008-2013), and Lost (2004-2010). Today I also remembered both of them were created by J. J. Abrams (with Jeffrey Lieber and Damon Lindelof on Lost, and Alex Kurtzman and Roberto Orci on Fringe), known lately for his reboot of the Star Trek franchise. I don’t like what he did to Star Trek. For me, his characters are flat and lacking the freshness and ahead-of-its-time quality of the Star Trek world. Abrams turned the beauty of the themes in Star Trek—acceptance, diversity, respect, and honor—to the action-driven superficiality of Star Wars.
I asked myself why Abrams took that turn, especially after creating all the rich characters and complex situations on Lost and Fringe. That’s a rhetorical question, of course; in most cases they (Hollywood, the film industry, the producers) create what the audience wants. Other than this statement, I don’t have an actual answer to that question. I could think that Abrams wanted to portray the characters according to the personalities shown in the Original series. The problem with that is that Abrams’ reboot was released on 2009, and the Original series on 1966. The period difference is ridiculous, including the social/political/cultural circumstances. In other words, you cannot expect the 60’s Star Trek formula to work seamlessly in the 21st century. It is antiquated.
But I’ll stop now. That’s a topic for another discussion.
Today I want to talk about Lost and Fringe: two TV shows that focus on character developing with a side of science fiction and drama. Continue reading
A few years back I took a film history course that changed my life forever. It required two sessions: one which was two times a week for an hour and a half, and a second one that was a 3-hour session for movie screenings. I remember that we had to write mini reviews about the films we watched on those screenings. I watched so many hard-to-find films, and (cult) classics that all I wanted to do was learn film history. One of the movies that I loved was Bonnie and Clyde (1967). I remember reading about it before but never got to watch it until that glorious Friday screening.
Bonnie and Clyde (1967)
Bonnie and Clyde (1967) expanded my visual knowledge to another level. This romantic movie about a couple of fugitives introduced myself to a whole new array of vintage classics that weren’t monster movies (like the ones I used to watch). And those were crime films with an almost excessive level of violence that (was) seduced (by) censorship. Bonnie and Clyde (1967) was a pioneer in that aspect, and it also lead me to watch more films about delinquent couples, like Natural Born Killers (1994) and Thelma and Louise (1991). Bonnie and Clyde (1968) was also my first ultra-violence experience from the 60’s, which makes it highly relevant to my thesis theme. Continue reading