damian-fuller

At times it feels like a period piece or is it that we're so used to the horror. A world populated by the shallowest, opportunistic bunch of ignoramuses the world has ever know. How can art come out of that? I think that when it does it's just an accident of Casablanca proportions. Robert Altman who knows a thing or two about it tells us the horror story with the most everyday approach. Tim Robbins is perfect as that empty designer clothed excecutive with a tinge of self awareness. I had to take a shower after the film was over and remove myself from that world.

Rachel, of course, comes out of the heart and mind of Daphne Du Maurier, the same author who gave us Rebecca and even if we never met her we discover she was a nasty piece of business, she also gave us Melanie Daniels in The Birds, the spoiled rich girl from San Francisco. Here, Rachel is more of an enigma and as played by Rachel Weisz, a dangerously, too good to be true lady of mystery. Rachel Weisz is absolutely captivating and perhaps that's why I was so aware of Sam Claflin's shortcomings as an an actor. I don't want to be unkind. He has presence and charm but I was painfully aware of the performance, specially when he has Rachel Weisz being totally present in the moment. Roger Michell allows the candles, the jewels and the locations to have their moments, beautifully. Recommend it for a stormy Sunday afternoon.

To communicate or not to communicate. Sometimes is just out of fear that we don't come close to the ones who can give us exactly what we need. They're different, let's stay away. Sally Hawkins in a magical but beautifully real performance invites us to try, to dare. Guillermo del Toro takes us through the paces with extraordinary delicacy and clarity of vision. Thank you.