The hippopotamus that ate the Berlinale bear | EUROtoday

Get real time updates directly on you device, subscribe now.

The day was going Martin Scorsese, a titanium lion that receives the Golden Bear for being who he’s. For that and for the extraordinary and lucid documentary ‘Made in England: The Films of Powell and Pressburger’, of which he’s producer and enthusiastic narrator. For that and, let's admit it, for the Oscar votes which might be there. But the shock was {that a} hippopotamus appeared. Big, with a deep voice, aggressive in what they are saying and, above all, with a narrative not a lot to inform as to splash round. 'Pepe', from the Dominican Nelson Carlos de los Santos Arias, It was already one of the vital anticipated movies, if solely out of curiosity, and, after all, it’s the most wonderful and essentially the most talked about, if solely as a result of the one talking is the animal.

The movie relies on what occurred in Colombia when the spectacular zoo that Pablo Escobar had on his Naples property was dismantled as a result of demise of the proprietor. The hippos that nobody wished stayed there till they started to develop and multiply. Now they’re a menace. In 2009, authorization was given to kill one among them named 'Pepe'. The images went around the globe as maybe a metaphor for every part the impure, the terrifying, the undesirable, the irregular and the detestable, What would Lovecraft say?

Based on this story reworked right into a fantasy, the director with an extended identify and profound imaginative and prescient dangers developing a journey into the inside of an evening with historical pressure. It sounds large as large is every part that assaults the display on this train of sensory, pletric, bookish and really enjoyable cinema. Own 'Pepe' He speaks and for a great a part of the footage he’s the one who immediately addresses the viewer to convey his shock at being alive in a spot that, he suspects, isn’t his. And it’s also that of the lifeless. His voice from past all voices transcends the easy monologue to grow to be a warning of ever larger evils.

Dominican director Nelson Carlos de los Santos.

Dominican director Nelson Carlos de los Santos.CLEMENS BILANEFE

And from there, from the strangeness, from the inhospitableness of a beast that names us, rises a movie that aspires to be virtually every part, like nice works. At instances, 'Pepe'is a drama of manners trapped within the perplexity of the inhabitants of the Magdalena River; at instances, it’s motion (or horror) cinema that might be good as an unattainable sequel to 'Tiburn' (that of 'Piracy', which is one thing extra gore); in some unspecified time in the future,'Pepe'is a cartoon tape that emerges from an outdated tv present with its shout 'hypohurricane'; typically, it's pop artifact; while you need, 'Pepe'is a narrative that runs via the deep inside of the place legends are fashioned; and, lastly, it’s the very story of an astonishment of lightning, fireplace and blood.

The digital camera strikes in water with the identical agility because it does on land. The chamber is aggressive and voracious in defending its territory. The digital camera of Nelson Carlos de los Santos Arias is only a ghost that emerges from the depths when nobody expects it. The digital camera is as heavy in its method to the truth of what it movies as it’s agile in fleeing the scene of the crime. The digital camera is, in impact, the hippopotamus.

Pepe', the animal within the movie, was the primary hippopotamus hunted in South America and 'Pepe', the movie not the animal, is the primary of the entries within the competitors at this Berlinale with a bear's starvation. Long dwell Pepe.

The director Veronika Franz.

The director Veronika Franz.Hannibal HanschkeEFE

The terror of different instances in 'The satan's bathtub'

At his aspect, the identical official part that was fortunately splashing round in Colombia entered the coldest a part of the chilly European winter. 'The satan’s bathtub'(The Devil's Bath), by the Austrians Veronika Franz and Severin Fiala, reconstructs one of the vital terrifying tales that human beings have been able to. History is there to make fiction look ridiculous, regardless of how merciless it’s supposed. In central Europe, again within the 18th century, the one approach suicides discovered to satisfy their goal with out being condemned by the Church was to commit against the law. This assured them of demise and, first, confession and, then, absolution of all sins. It needs to be added that it was girls who, virtually totally, made this fateful resolution.

The haunting administrators'Good night time, mother (2014) and the extra than simply terrifying 'The sinister cabin (2019) now abandon essentially the most radical and assumed codes of the style to method the crudeness of actuality in all its crudeness, definitely worth the 'crudendancia'. The viewer is guided with the same old precision of the couple fashioned by Franz and Fiala via essentially the most murky paths. Without exaggerating the gesture, with out bending the digital camera at a single second to shock or frighten, solely attentive to the struggling of a lady harassed by marriage, faith and worry, The movie advances via the viewer's gaze and creativeness like a foul omen. Something dangerous goes to occur and never a single one of many indicators, warnings and premonitions provided by the story starring an imperial Anja Plaschg will stop us from persevering with to observe. Not a second. And after all, dangerous issues occur.

There has been lots of ready, however between Scorsese, 'Pepe' and the satan himself have achieved the primary spherical of the Berlinale. And now a scream hypohurricane.


https://www.elmundo.es/cultura/cine/2024/02/20/65d4b16afc6c8366728b459b.html