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‘Penny Dreadful’, ‘The Strain’, ‘The alienista’, ‘American Gods’… These are just some of the big titles to the small screen to the our Paco Cabezas have contributed their grain of sand from the seat of the filmmaker in his journey on the American. An adventure that kicked off in 2014 from the hand of the very same Nicolas Cage in the film ‘Tokarev’ and that culminated the following year with the hilarious and refreshing ‘Mr. Right’.
Five years after puddle jumping, the director returns to his native Seville to sign for his third feature film of the Spanish production after ‘Published’ and ‘Carne de Neon’ under the title of ‘Adiós’; giving us a thriller of revenge in key cani firms with nerve, skill, and a cinematic quality undisputed, the great moment that is living the gender of their homeland with contemporary.
In this way, ‘good-Bye’ joins the trail of tapes as the ‘Cell 211’, ‘The island minimum’ or ‘may God forgive us’ —by putting a handful of examples—; picking between their frames a remarkable combination of background and shape that, in the case that concerns us, runs without skimping on rawness and intensity the process of grief and the relationships paternofiliales in an urban environment desolate.
The return of luxury of the prodigal son
Located in the more marginal areas of the andalusian capital, the film develops his speech under the guise of a sordid exercise of suspense and crime that not only is effective in the development of its plot and in the succession of about-turns that invite you in to see her sitting on the edge of the seat; also shines bright in both of their passages delivered fully to the action, as in the more intimate.
a Large part of the responsibility of all this falls on the shoulders of a head that demonstrates the great truth behind the saying that the experience is a degree, articulating a mise-en-scene is precise and vibrant, which finds its maximum exponent in the brutal sequence of the raid to the 3,000 homes; mounted in parallel to three bands and having a working chamber and mounting impeccable.
But performances aside, if ‘good-Bye’ also succeeds in its vis more dramatic thanks to a cast of excellent in which shine the names of Carlos Bardem, Ruth Diaz, Vicente Romero, and, above all, Natalia de Molina and a Mario Casas continues closing mouths and breaking schemes to each new role with a minimum of substance which interprets them.
With a soul andalusian immeasurable, an invoice, a technical and artistic at the height of the circumstances, and a narrative absorbing and, at times, suffocating, ‘Goodbye’ rises as one of the best bets of the Spanish cinema of this 2019, and as an ideal companion to enjoy a double session priceless along to the ‘Who to iron kill’ Paco Plaza.
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The news ‘good-Bye’: a vibrant thriller of revenge that shows that gender in Spanish is still in full form was originally published in Espinof by Victor Lopez G. .
November 22, 2019
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