A metacinematic reflection on the nature of representation and the ongoing drug war in Mexico, Nicolás Pereda’s Flora revisits locations and scenes from the mainstream 2010 narco-comedy El Infierno, exploring the paradoxes of depicting narco-trafficking on film—its tendency both to romanticize and to obscure. To screen is both to project and to conceal.
Nicolás Pereda
Director
Gabino Rodríguez
Hombre con peluca / Narrador
Luisa Pardo
Mujer en cuarto de hotel / Mujer con peluca
Francisco Barreiro
Hombre a quien le roban la motocicleta
José Rodríguez López
Hombre que maneja camioneta roja
Teresa Sánchez
Mujer que atiende en el bar
Fernando Álvarez Rebeil
Hijo del dueño de la mina / Ladrón de motocicleta
From its visually stunning opening credits, which show women dancing through a forest to musical rhythms that sound almost primal, to its quiet, heartbreaking final frame, Mona Fastvold’s historical rendering of the Shaker religious movement is an experience that will stay with me for a long time.
It’s dark, uncomfortable, and there are things that don’t make sense.
How closely does an actor need to resemble a character or historical figure in order to portray them on the Silver Screen? Seems to depend on color.
I have been a long-time fan of the Marvel Cinematic Universe ever since it made its official debut through 2008's absolutely excellent "Iron Man". The run continued, as did my associated fandom of the films, through the utterly EPIC 2019 finale "Avengers: Endgame".
"His Girl Friday" set the bar for romcoms and gave us a feminist heroine before feminism was cool.