Cinemas, not cinema, are over. It’s a slow agony. Its a bit sad. We listened to the director of The snow societyJuan Antonio Bayona, saying the film is a hit: 100 million people saw it via Netflix and 400 thousand at the cinema.
Are we listening well? 400 thousand versus 100 million? Only in Argentina A Chinese storyof 2011, made with two pesos and starring Ricardo Darín, attracted more than a million viewers.
Bayona said this from a pulpit, complaining because the newspapers did not report the news. Arrogant tone and furrowed brow, as if he too was a survivor. He spoke in front of an audience who applauded the figure (let’s calculate, Netflix’s figure).
The truth is that nowadays you have to be a huge movie buff to go, personally, to the cinema.
Even if you see Fast & Furiousif you went to the cinema, if you paid for the ticket, if you tipped and sat down, they should give you the “Recontra Cinéfilo” card.
We live surrounded by people who admit, “I haven’t been there since before the pandemic.” She confesses it without it sounding like a trauma or something to deal with in therapy. It’s sad, but hey, it’s like this, platforms rule and cinema has no choice but to beg for (big) screen sharing.
In some ways it has become a kind of necessary evil. A cinematic procedural. Like a notary who exercises an enabling function to be able to compete for the Oscars. More than a joy, the brand new has become a need. Frightening.
A supportive and sensitive film
Going to the bone, The snow society It’s a film about some boys born and raised to fall with a plane in the Andes mountain range.
There are people born to be athletes, good fathers, to shine, people born to be rock stars, to brighten our lives, etc., and people who came into this world to be eternal.
It’s about some young people who suffer a plane crash and, not satisfied with having survived, decide to continue surviving. And they do it relentlessly. “Resilience” is a value that began to wear away at around 5000 meters above sea level.
It’s a sympathetic and sensitive film, with remarkable commitment, common sense and other virtues. typical of… masculinity. In this case there are no women survivors to tell the story, and we are talking about one of the favorite miracles at all terminally ill conferences. A phenomenon far superior to that of the Chilean miners and probably at the level of Titanic.
We saw him on a plane with one of those people who go to marches and do a bit of protest in the street. In the end she ruled: “Sexist film”. Jealousy? Of course, she couldn’t believe that even though there was no conventional empanada filling, the boys did so well without it. And up! There are also those who think the film makes veganism invisible.
The snow society It does not show human miseries. Nothing ignoble. Nothing bad. Nothing to be ashamed of. It is the well-known story of Uruguayan rugby players who teach us that coexistence, finally, is not so complicated. Which is a journey full of challenges and joys and is possible even in rather uncomfortable situations.
Various opinions
Twenty-five year old boys with the capacity of a thousand Maratea Saints. Everyone supports each other, there are no clans or opportunistic leadership. They don’t conspire against each other. Never one bite too many. Will the “garra charrúa” thing come from here?
The director presents it to us as a life lesson. Film with a message. The kind that tells you “after all, the sun will rise tomorrow.”
We know someone who saw it at the cinema (cinephile). Do you like me? “It is aimed at the audience of the series that have shaped the way the platforms are consumed.”
Lucrecia Martel, director of Zama AND The swamp, believes that 90% of Netflix content is mindless, and he might be right. He believes that the eternal return to the plot, almost as a unique character of the narratives, is a conservative aspect typical of a global sect of the “story”.
Its production is impeccable, yet the script reads like an Alejandro Lerner song. Numa Turcatti’s character, a sort of Adam Driver from River Plate, is dying and tells his friends that he will keep her, but he says it while chewing a chocolate and satisfied in Sergeant Cabral style. He would only say “I die happy, we have defeated the enemy”.
Furthermore – with 100 million viewers there are no longer any spoilers – the boy who tells the story in voiceover is not a survivor but a dead man. The dead man who spoke It doesn’t cost a fortune, yet it sets the tone that the fiction is there from minute one. That is, beyond the real facts, the story (exciting among other things) will always be told by whoever wins.
A cinema addict who works for this same newspaper will decide to close the debate, calling it ridiculous. “Sorry, that’s all well and good, but criticizing this movie is like objecting to a Marvel movie.”
Source: Clarin