LA ZONA
Spagna, Messico 2007
di Rodrigo Plà .
Con Daniel Giménez Cacho, Maribel Verdù, Carlos Bardem, Daniel Tovar, Alan Chàvez, Mario Zaragoza, Marina de Tavira, Andrès Montiel, Blanca Guerra, Enrique Arreola, Gerardo Taracena.
Rodrigo Plá's work, presented to the Days of the Festival of Venice, appears as a political fiction film with implications refined and sustained. Even with some echo of the climate of persecution of 1984 and the horrific situations - a metaphor for the film Romero, the area presents itself as completely realistic and believable, and then instill in the viewer the uncomfortable feeling of seeing a slow fall to the moral degradation of the whole company. The young protagonist, the son of one of the inhabitants of the area, will face to face with what is the microcosm for his bogey at the same time the scapegoats: one of the robbers, the youngest and only escaped the fury of its neighbors. It will be a comparison between his morality and that of his parents, including his knowledge of the world and his personal sense of compassion and understanding.
Behind him, the adults, the conflict between humanity and defend their privileges. As in The village is not the escape from the violence that saves those who think beyond good and evil, because what is inherent in man does not come only from breaches in the walls, but also emerges from the cracks present in the soul of men. The film shows in every frame, as a robust, balanced and elegantly reasoned, not ends in banal thriller, or the fiction of the complaint. Centered perfectly on target without being rhetorical, thanks to some choices that are directed without ever touching play false. Although unfortunately, it seems that the company is destined for PLA to total moral defeat. The narrative cues are many, and solved in the most coherent and cohesive. The themes of the world of the rich, which is based on hypocrisy, arrogance and violence (almost a sense of omnipotence), the damage suffered by teenagers, brought up with moral values \u200b\u200band partial inhuman and
the desperation of the poor, humiliated up annihilation, they find a plot that does not disappoint and a great final, a far cry from the ease with which one could turn a normal action movie with streaks of social protest, leaving the viewer with a real emptiness in my heart , before the stark awareness of the total collapse of civilization in the bourgeois world. But leave the area with a spark, like a light, which allows us to challenge our idea of \u200b\u200b justice. In a case like this (rare, but possible), the cinema becomes art that allows you to explore the world.
Henry Ruffato – nonsolocinema.com
La zona è un film che non fa sconti a nessuno.
Sembrerebbe raccontare una minuta ed immaginaria porzione del Messico, e viceversa salta completamente i confini geografici, puntando il dito contro il mondo occidentale nel suo complesso e nella sua complessità. Con un’opera prima che sorprende per rigore ed intensità, al punto da guadagnarsi Il Leone Del Futuro, il premio che a Venezia marca il regista più promettente, Rodrigo Plà firma un lavoro di fantascienza sociale – se così possiamo qualificare quell’insieme di film che ispezionano, rielaborano, radicalizzano e poi esibiscono alcune inquietanti tendenze presenti all’interno delle società. In questa categoria reperiamo film come Dogville , di Von Trier, o L’invasione degli ultracorpi , di Siegel, o Fahrenheit 451 , di Truffaut. Film apertamente apocalittici, incubi ad occhi aperti, a metà tra tragedia ed horror, che rivelano cosa potrebbero diventare le società se confermassero e più tardi estremizzassero alcuni aspetti non particolarmente democratici. Ovviamente, questi film mettono in scena un futuro prossimo, o un lontano past, and rather than play with the realism, preferred to approach the forms of allegory or metaphor, showing, all in fantastic - so much so that the film eventually resemble a warning: an image easy to trace memory, suitable to guide us if something were to present itself.
Plà But happily veers towards the forms of realism, and builds a story that is rooted in the present. Without even so much work of imagination, the director captures the
Area , a neighborhood nice and clean, dramatically immacolato, del tutto fuori luogo rispetto ad una Città del Messico disegnata come un girone dell’inferno: nera, tristissima, con mozziconi di case impilate in un tetris inestricabile che s’irradia ovunque. La Zona esiste perché un muro divide il quartiere dal resto della città ed una pattuglia di vigilanti sorveglia il confine attraverso gli occhi delle telecamere. Solo che il giorno in cui tre giovanissimi si introducono per rapinare, l’altissima borghesia che abita la Zona, senza ricorrere alla legge, decide di farsi giustizia da sola, uccidendo due ragazzi e processandone il terzo, in un finale nerissimo come il sangue che si secca e non va più via.
Girato hand, livid color of ashes, the area is a harsh indictment of the way we live and perceive others. The film reveals that the myth of Western man: the market opened and closed society, where travel distances are only goods and financial flows, while the borders impenetrable, cut away from bliss, pushing the masses of desperate people.
Plà And the film has this ferocious: that is next to a science fiction come true. And the sense of proximity arises from the use of film language wise: the contiguity between the shots and moves from documentary images of aseptic surveillance cameras make the idea everything that is happening now, before our eyes. Eyes that, after the credits, they lost their innocence, they have seen what will be, what in the present, a world of walls and blood.
Joseph Zucco - sentireascoltare.com
Review Modern Times
