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The 72nd festival de Cannes has been opened today with a gala where she has claimed the experience of going to the cinema and the projection of a rarity as ‘The Dead Don’t Die’, the movie of the undead Jim Jarmusch. All of this has been able to see, live, in 600 rooms French, approaching for the first time to the public passing by the ticket office the possibility of living a part of the event.
In a way, Cannes has played to be popular in this first day. A mere illusion; without accreditation or invitation you can’t watch a movie, you can’t buy a ticket, and one of the scenes repeated on the Croisette it is to see people trajeada with all kinds of banners, asking for a ticket to be able to access the luxurious premiere at the Grand Theatre Lumiere, as the stars.
And gives the feeling that the movie is the least of it, while the machinery to work, you have famous faces on the red carpet and we all feel as part of a party is very exclusive where the artists mingle with the influences. Today, Jarmusch, surrounded by some of the actors of his new work, Bill Murray, Adam Driver, Tilda Swinton, Chloë Sevigny and Selena Gomez. Steve Buscemi or Danny Glover have more minutes on screen than Gomez but, of course, the glamour…
Although it is very nice that the festival, through its master of ceremony Edouard Baer, defends the film a must-see in the cinema, not at home, the collective experience, even “the human heat”, one can not help thinking that all this is pure pose. What is certain is that the speech is another chapter of the divorce of Cannes and Netflix.
go to the cinema, don’t you see the movies at home. The festival launches another dart to the platform taking advantage of that ‘- The Dead Don’t Die’ has been released today on the billboard French and anyone can go see it passing by the ticket office. The others do not, but hey, go to the cinema. By the way, this show is supported by the first incursion of a prestigious author in a genre as popular and accessible as the zombie.
‘The Dead Don’t Die’: we are already living dead
this is Perhaps the only way that a certain audience is released to see a movie about the “undead”, along with the fans who spent decades enjoying with this kind of stories. From George A. Romero, the zombie has served for something more than enjoy with bloody situations; it has been used as a resource to expose a social discourse. Jarmusch follows that path without providing anything special.
that Is to say, is an author, take elements, themes and topics of the subgenre, and integrates them into its particular universe, using actors with whom they feel comfortable and bringing your humor and your style (at the same time she shares his admiration for a topic of Sturgill Simpson). It is a film that only could have done this filmmaker. However, your reading is the most superficial and irrelevant of what would be desirable.
Jarmusch does not come to bring anything new, only repeat what you have already said to others, even he himself in ‘Only lovers survive‘, which anticipated the concept of zombies as individuals bored and without a criterion that is driven by fashion, ants will respond in mass. It is striking to one who chooses to save at the end.
leaves No memorable image, beyond a certain rotation loquísimo that makes you laugh more for the idea than for the execution. On the other hand, the split point of view between many characters, who are isolated in their own stories, hard to follow with interest a story languid, lacking in pace.
Since then, ‘The Dead Don’t Die’ funny moments, a great cast and will leave more or less satisfied the admirers of the filmmaker, and perhaps in a few years will become a film of cult. Perhaps Jarmusch has only wanted to make a film sympathetic to see family and leave a couple of thoughts. It was perhaps not a film to Cannes, as the circumstances that surround a film condition inevitably experience. This film in Sitges see it another way. And at home too.
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The news Cannes 2019: Jarmusch opens the festival with ‘The Dead Don’t Die’, likeable and inconsequential contribution to the film zombie was originally published in Espinof by Juan Luis Caviaro .
May 14, 2019
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