Son Of Saul (2015) Movie Theater
The son of Salt (2015), Lszl Nemes. It seems to Me a film excellent. Theatre in Buenos Aires. The teatro Bretn de Logroo program for this Sunday, march 20, the film The son of Salt (Hungary, 2015), within the cycle of cinema. In the year 1944, during the horror of the field of specialty of Auschwitz, a prisoner in judo hngaro called Saul, a member of the “Sonderkommando” – in charge. Free Games Books Museums Music Awards Radio Magazines and newspapers Theatre. Awards Oscar for the Best film of. Mp4 Movies For Ipod Past Five Years, The Poster (2015). Short, 2010), THE SON OF SALT (2015) and. The 87 Awards ceremony scar takes place on February 22 2015 in the Dolby Theatre. The son of Salt. best film. The son of Saul (son of Saul) CríticaI want to be proud of my own language. I want to look out of the window. And see a country that I know and love. Jennifer Ehle in Sunshine (Istvan Szabo, 1. It is something usual when it contextualizes the plot of a feature film based on some historical event analytically complex, and the Holocaust is certainly one of them, that attempt to explain or personify a way of feeling collective from a case fictitious individual and anonymous. How is the reaction of a subject to a situation that you do not understand, and of which the forcibly part is something that can develop through a language that we transport far beyond any demarcation bounded by the words. The film allows for a few delve into this exploration inside the human soul and, in the case that occupies to us, leads us undoubtedly to the New German cinema, especially to Werner Herzog and, more specifically still his version of Woyzeck(1. For his debut on the field for the feature film, the Hungarian László Nemes, shares a point of view that denotes a hue urgent both in content and in form. The author seems to focus on the social value of the story that is brought between the hands, showing that the anti-semitism (merged with the antisionismo) is not something that guides our gaze to the past, but confronts us with the present, more immediate. In the same way, both the screenplay as well as the stylistic resources used, avoid an approach and retrograde self-complacent on a time of the past and remote to focus on a vision of something forgotten and expressionist (and ultimately, much more useful now) about the effects of dehumanising that the society produces in the soul of the individuals of the working class when it denies the validity of the sign that differentiate, within the group. Saul Ausländer (Géza Röhrig) is a member forced the Sonderkommando in one of the so-called platoons of prisoners who the nazis were forced to give their labour as a last companions of the prisoners that died suffocated for, subsequently, to take out the bodies and cleaning the gas chambers, leaving them ready for the next batch of exterminated. In this scenario, the complexity of the debate shuns any positioning categorical. In relation to the technology of the medium and the narrative discourse used, we return again to Herzog and his particular vision of Woyzeck, the no less singular (and unfinished) work of Georg Markets (1. With a certain air of documentary, the planes of long duration as well as the travellings will create in the viewer something akin to the tension that produces us to be forced to endure the look at our similar. Photography Mátyás Erdély converted in the pupils of the protagonist is careará with our own with an eloquence figurative that will replace the inevitable question: what would you do in my place, Language, identity and race will be three key concepts. Difuminar the sharpness of the image, as well as the feeling of guilt among the apparent apathy that causes us to live the life that we have taken in a constant state of shock, like Saul, surname Ausländer, that is to say: the alien. Self. Nemes us extorts even more, turning the nut to move us to realize that the decision of this unfortunate killer whose salary shall not be more than the death, decide to bury the body of a child (as if it were your child's) with religious burial, there will be a heroic gesture or a poetic but in a desperate adherence to the unique lineage of which it forms part: of the bodies. Betray the living for the dead will be the only output possible. The absence can not get out more than anything. The interpretation of Géza Röhrig pushes the actor, as well as the character and the audience to the exhaustion is physical, not just mental. Hd 720P video Roman Israel Esq (2017) on this page. Sweating and struggling in the bad weather psychic more absolute the planes will open up before the enhanced expression of pain as possible. Trying to avoid the mysticism excessive but without renouncing to the sample of spirituality, the more extreme, we will witness the torment of psychological the that Saul is subjected to at the hands of their comrades, prisoners organized following the example of military that oppresses them. We will not arrive to fall into the madness, but there will be moments in which the reality will come into conflict with what may appear to be a hallucination. Finally, the risk of exhibition of the proposal seems to be diluted as it moves through the feature film. It is as if once raised the hardness of form and content, Nemes would like to escape the horror that has been recreated. A second reading can make us see that the risk is precisely that development toward an end that we all know but that will never be displayed on the screen, coming to a result that (if that were not a contradiction) would leave us in media res, suspended in the abyss of victim and executioner. Be that as it may, there is no doubt as possible after the viewing of The son of Saul(son of Saul) that the ability of the director and screenwriter to convey through the narration that feeling of being there (similar to the approach more own documentary), combined with the impression of observing the drama from the distance, or the distance, it is frankly disturbing. As the prayer which in the film becomes synonymous with incriminatory evidence, the author's work is impressive both for the ability to innovate within the language's own means, as by doing so in a context widely used by dozens of filmmakers. Nemes demonstrates that it is able to overcome the crisis, post-modern word that is of concern to linguists for a long time, while confronted with an example true and recognizable by the majority of the need to reflect through art, our reality is more immediate.