The Saturday of a cinema today may seem on Tuesday or Wednesday of any week before, when people went to account drops to discover a movie premiere.
At San Ignacio we arrived early to see Solo: A Star Wars story. The function was at 7:40 at night. At 6:30 we reported an abstention dialogue with the empty tables of the no election of May 20.
Scarce spectators were passing through the area. The cotufas began to cool while waiting for the symptoms of life in the enclosure.
A decade ago, the queues of consumers came to the bathroom. The act of re-legitimizing Maduro, against the opinion of the silent majority, unleashes a devastating effect on the economy and morals of the citizen.
Caracas is silent on weekends, lying down with hunger and sorrow. It is not for less.
We return to the interior of the room, while the publicity tries to make up the disconnected face of the surrounding reality. The fans manage to populate a quarter of the projection space.
In addition to the situation of the country, the galactic franchise no longer summons the crowds of the past. It continues to be a profitable saga by the numbers counted during the harvest of the first weekend. But the backlash is evident, product of the saturation of the offer. I read the experts in search of a reasonable explanation.
According to the commentators of the playground, the Disney company offers better results in the handling of feature films derived from the Marvel universe. On the other hand, the Mickey mouse raises problems when marketing the latest sequels of the space saga patented by George Lucas.
Anyway, each additional episode manages to obtain a high collection, in spite of the ominous voices and the apparent lowering of rating, added to the complaints by the diminishing quality of the new chapters.
For its part, critics recover the thesis of Susan Sontag in A Century of Cinema, when questioning the mania of converting the tapes into expressions of a speculative and recycled art, whose commercial objective is to unify criteria and generate consensus around the combination of formulas Manidas of success.
The president of the Festival of Buenos Aires, Javier Porta Fouz, uneasily reviews the drift of an era immersed in the mirage of obtaining gratifications to the letter, according to the likes received for posting the least effort.
Will the offer be exclusively concentrated in the hands of a monopoly of blockbusters of superheroes, video game wars and comic book characters? It is irresponsible to conclude it in light of the diversification of the innumerable display windows available in the web menu.
However, there is never a question of putting it on a billboard that is as fragmented and at the same time fragmented as it is now.
At the end of the day, we leave Solo: A Star Wars story with the smile of satisfaction of those who rediscover a childhood friend, almost a father to many.
The adventures of the young Han are equivalent to those of Indiana in the mutations of the desert and fantastic landscapes of the "b-series" genres, exploited with the sophisticated technique of "class a" budgets.
The veteran and eternal teenager of Ron Howard is immersed in one of his nostalgic returns to the crusades of the bandits of the cool time of postmodernity.
The costumes deserve an Oscar nomination for its vintage dye plastic finish.
The performance of Lando requires a special section for its combination of style and charisma.
Donald Glover is an amulet of emerging, irreverent and creative America since the reinvention of classical myths.
The beautiful cheeks of Emilia Clarke shine in front of the viewfinder, and they reinforce the fame of the star system photograph. The plot summarizes the wickedness of the writer Lawrence Kasdan at the time of reconfiguring the western map, comedy and science fiction. We know the origin of Chewbacca and its endearing grunts never translated, although easy to interpret.
The fruit of déjà vu is joyful. It favors the audience the absolute lack of pretensions of the film.
There is a sequence with a giant squid in a wormhole quite explicit interest to share an excessive show, ironic and self-conscious baroque angulations, near the camp.
The subtext metaphor entailed a pedagogical value.
The anti-hero's journey displaces his ombliguist, selfie and millennial gaze, allowing him to redeem himself in the act of helping the victims of fascist oppression.
Out of their limitations, I'm left with the resistant message of Solo: A Star Wars story.
