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One of the biggest dangers that you must deal with a creative, regardless of the medium in which print their work, are their referents, more dear. A few sources of inspiration, sometimes driving the drive artistic, if not controlled can get to devour entirely a creation, and bury the signature of the author under a mountain of winks and homages without filter whatsoever.
This conflict, especially in the usual debuts, it is precisely the higher burden that prevents ‘Boi’, the first feature film by director Jorge M. Fontana, takeoff, completely, becoming, without a doubt, it is one of the debuts most promising of the past years, in a pastiche that wanders dangerously between the thin line that separates the genius of the absurd.
Get your style —maybe too much—
‘Boi’ it is a unique piece in its kind; something that is especially obvious if we evaluate centering our view on a Spanish industry dominated increasingly by the formulas of the major production companies —almost always with the approval of the box office— and in the that stand out above the average bets so risky and free as that of Fontana.
It is very difficult to pigeonhole this convoluted monster of Frankenstein film within a specific category that you define it clearly and concisely. In him there is no room for the bitter portrait generation, comedy more black and delirious, to the thriller deranged spirit lynchiano, and for an in-depth exploration of the figure of the creator in precarious times.
If there is something that exudes ‘Boi’, that is style —maybe too much—. The director, screenwriter, runs through a mise-en-scene and camera work remarkable, captured successfully in a magnetic 35mm, a script that is not afraid to jump from languages with the same ease with which it turns your tone progressively.
But the unlikely journey, both inner and physical, of the protagonist, as you go along a film that seems excessively dilated —like many of the sequences of the tape— and arrhythmic, it ends up blurring between the reference and obsessions of the author, and the capricious outcome of a plot that ends up derailing in a final third that verges on the ridiculous —for good, or for evil.
Gives the feeling that ‘Boi’ longs to be a movie, and many at the same time. This may only be a symptom of the hunger and aspirations of a Jorge M. Fontana who, at the time achieved to control their patent talent and your verbiage creative, you can put upside down on the film scene national.
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The news ‘Boi’: an interesting debut that exudes style and ends up getting lost in a sea of references was originally published in Espinof by Victor Lopez G. .
March 30, 2019
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