Kornél Mundruczó
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Filmography
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Connections, in both directions
La insurrección canina invoca de entrada un poema de Rilke (“Cualquier cosa terrible merece nuestro amor”), pero serán de naturaleza muy distinta los referentes narrativos, más bien populares, que rigen sus delirios expresivos: su trayectoria de padecimientos será análoga y correrá irónicamente en paralelo con la del desterritorializado culto ciudadano afrocanadiense de 12 años esclavo (McQueen 13), su visión heroica perruna remitirá de modo inevitable en todo instante al regio sufridor perrazo de pura raza collie Lassie cuyo sacrificial retorno a casa estaría movido por La cadena invisible (Fred M. Wilcox 43), sus peripecias en el regazo infantil sufrirán un revés que lleva del sonrosado Guardián el perro salvador con la inefable Chachita (Gómez Landero 49) a la ferocidad de las complacientes peleas encarnizadas de Amores perros (Iñárritu 00), sus penalidades se desarrollarán entre la serena resignación del asno encarnación de la gracia divina de Al azar Baltasar (Bresson 66) y la im…
Canine lovers may have a deeper appreciation for what it attempts, though only if they can stomach the kind of simulated animal cruelty that made passages of Amores Perros so difficult to sit through.
If you have seen “Amores Perros”, the cynical Mexican film about the connections people have with their pet dogs, you will remember that this is exactly what happens to a gentle Rottweiler owned by a slum dwelling youth.
Through a chain of escape attempts, Hagen is eventually caught by a Turkish restaurant owner who attempts to train him as a fight dog — encouraging his attack instincts with a brutal training regimen that reps the most grueling watch for dog lovers since “Amores perros.”
El director asegura haberse inspirado en la manera en que el novelista J.M Coetzee describe las relaciones humano-animal para narrar la historia de Hagen: y se nota, pues lo que empieza como una cinta de Disney tipoVolviendo a casa, una aventura increíble (Homeward Bound: The Incredible Journey) termina siendo un escaparate para la crueldad humana más a tono con, digamos, la primera historia de Amores Perros.
Playing in Competition, Jupiter’s Moon is an odd mongrel — a sort of combination of Children Of Men and an X-Men movie that won’t stop lecturing the audience about the points it wants to make.
With deliberate echoes of everything from Alfonso Cuarón’s Children of Men to the early Marvel movies, Jupiter’s Moon begins with an impressive adrenalised flourish and a bullet-ridden chase through the border forests of Hungary.
But like George Orwell with Animal Farm before him, Mundruczó takes White God beyond a strict metaphor for the sociopolitical goings-on of a specific time and place, and makes universal statements about the terrible toll of power and the frustrations stemming from the lack thereof.
Mundruczó is mining a rich heritage of underclass table-turning adventures, with liberal dashes of Planet of the Apes and Samuel Fuller’s White Dog.
Think “Planet of the Apes” but with actual dogs rather than CGI apes, and you’re halfway there.
An early scene of Hagen and other wild dogs being rousted by noose-toting animal control officers in a junkyard evokes Kubrick's Roman epic, as well as a "human roundup" scene in the original "Planet of the Apes," which was itself a not-too-subtle parable about slavery and bigotry.
To be sure, that’s not a particularly novel concept—the recent Planet of the Apes reboots have skillfully addressed similar thematic terrain—but what elevates White God beyond the forcefulness of its commentary is the precision of its execution.
A hit at last year’s Cannes, where it rather inexplicably trounced Force Majeure for the top prize in Un Certain Regard, White God at times resembles everything from The Birds to Rise Of The Planet Of The Apes to a live-action Oliver & Company.
It opens like a mad mutt version of Planet of the Apes.
Award-winning cinematographer Benjamin Loeb (see 2018’s “Mandy”) acts as the director of photography on “Pieces of a Woman.”
The film’s most notable element is the real-time birth which "Mandy" cinematographer Benjamin Loeb shoots in one long, unbroken take.
On the technical front, the home birth sequence of the film is executed in a bravura 27-minute singular take with the cinematography by Benjamin Loeb (best known for his work on Mandy ) and the sparse score by master composer Howard Shore both convincingly capture the moods of the characters as it floats when the mood is positive and becomes more sharp as the mood changes.
Thousands of words could be written alone on the subtle gestures every one of these performers do, whether it’s Martha rolling over to bite down on Sean’s forearm to cope with the pain, Vanessa Kirby’s intense body language (thousands of words could also be written on her incredible performance that is sure to open up any door in the industry the Mission: Impossible action star wants to be unlocked), the frantic moving around and changing of her body positions (all intimately captured with delicate camera movements from Mandy cinematographer Benjamin Loeb), and finally, the worst-case scenario itself.
(George Miller did a vastly better job of keeping his meanings and sympathies straight with the human and animal cast of Babe: Pig in the City.)
Manchester by the Sea (2016)
Directed by Kenneth Lonergan
influenced Pieces of a Woman (2020)
Themes
This one will likely fall in the same discussion as Manchester By the Sea , a film so flooded with grief, it becomes difficult to reckon with its darkest moments.
Why, for example, does “Manchester by the Sea” work so well (and go on to find such an unexpectedly large audience), while HBO’s recent “This Much I Know is True” struggle and strain every step of the way, even with tip-top actors?
Unlike the camera trickery Sam Mendes implemented throughout 1917 to give the illusion of an unbroken take, Pieces of a Woman is a true exercise in camera fluidity.
Unlike in 1917, where director Sam Mendes used camera tricks to fool the viewer into believing the entire film was a one-shot deal, it’s the real thing in Pieces of a Woman (at least for those crucial 25 minutes).