"Director" movie "is an inseparable pair. And generally any binomial "artist" work "involves a very specific fellowship, film director connection of their work can not only make an assessment of the achievements of the first term of the binomial with respect to the second, but also encrypt keys of the film that reflect the presence of its director, that director and not of anyone else. The play then transmitted to the director, not unlike what happens when you read any book, and is in the feedback that we wonder about the author, who wanted do show, how, what he's talking ... who he is.
Clint Eastwood's name is immediately associated to the action hero, the "Man with No Name" in the Leone westerns and Dirty Harry are the first that come to mind in general and we takes a few minutes to remember that in his 55 year career, the last decade in particular shines much more for his work as director and actor. A non-deceiving anyway, Eastwood directed films since 1971, but probably the turning point it passes from one competent manager to a great director is his anti-western, 1992 Unforgiven (The Unforgiven). From then on, Eastwood began to hoist the flag of constant questioning in his films, wondering about their country, its history, its people, their myths (many of whom helped create), and growing reflexively deconstructing conventions in the same (if Walt Kowalski in Gran Torino is Dirty Harry with years of reflection in between, not what the growth). Hereafter we then and that's when we wonder why Clint Eastwood is making a movie about the afterlife? What drives this man to make a film about life after of death?
The film begins with what is probably one of the most shocking scenes shot by Eastwood: A tsunami (not specified, but subsequent data can believe that refers to the tsunami of 2004) devastates the city in journalist found LeLay Marie (Cécile De France). During the wave, Marie loses his life for a few minutes and get a fuzzy vision of the afterlife with men and women faced with a blinding white light. Upon his return, he begins to investigate everything you can find out about it. Marie's story parallel account of George Lonegan (Matt Damon), an ex - American psychic who can provide connections with the afterlife and in London, Marcus, a boy who loses his brother in a tragic accident. Eastwood then take the time needed to narrate the lives of these three characters and confront the questions of his own mortality. Are the usual questions and answers "popular" also appear, particularly satirized the "experts" on the item refers to Marcus. It is in the film image of the beyond, a vision that the director used repeatedly, it is important to stop and contrast the characters failed attempts to make sense of the finite from the body. Eastwood paints a vague, blurry, out of focus beyond seeks to be the analogue of our own knowledge. In the replay of this image is taking a stance against the conflict set: we will not see in this film answers the questions, not the filmmaker's intention to provide the clarity to understand a phenomenon that is incomprehensible to us is great. The three characters, who somehow reach understanding (perhaps more correct to say "knowledge") of the case see themselves alienated, in deep solitude to have discovered something that was not for mortals to discover, the "curse" that referred to Damon, brilliantly captured in the simplicity of the scenes that show him in more an opportunity to observe through a window as people move away from him.
Why then ask all the questions that the film can not answer? Just because Eastwood invited to believe that we do not need, at least not now, and it is unnecessary and even pretentious attempt to reply. It is only when the players understand that it is essential to connect with life, with themselves and with others in this world, that loneliness disappears. With 80 years of age, it is fascinating that Eastwood may arise a conflict of their own mortality, and respond to it with an attitude that shows life for all points of view. The rest will then ...
3.5/5.0
Thanks for reading, are a wonderful audience
Gonza
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