I happen to have a Day before Biutiful Walter Salles' Motorcycle Diaries seen. Since there is about to end a scene in which Gael García Bernal as Ernesto Che Guevara swims across a river, which separates in a leper colony in the care of the patient. To the point does this at least partly amazingly smart movie at this point his idea of Che as a political figure: There is a man of the social contradictions can not completely dissolve into political action or even in analytical criteria, but they at senior moments and large bridges symbolic gestures in his body / with his body. The film has also (unlike Soderbergh's diptych) actually an idea of how this particular myth works. Maybe he has an idea that Star body make the movies like, but if so, they remain secondary.
more annoying is then the new Iñárritu, who runs with the Che films, while not strictly speaking a name, but which creates a relationship between body and politics, of course, not even any reflexive, making sure even the hand-held camera, the anticipatory , over beating (and added: technically brilliant) assembly, the connections that some textures and gestures with the feed into the organic world of sound rooted music. Two and a half hours of film projects (for which everything always just have to be there, just felt, image, color motion as the equivalent of emotion, which he forces the viewer gently but firmly to) the misery of the world = globalization = the West = the time history back to the Franco dictatorship Javier Bardems Star Bodies, the expiration code exactly thick on their faces are painted, including the bursting forth known features are not distorted, but are all the more better. attached as an additional contrast film around him: Seedy locations, non-white skin color, suitable for non-Hollywood faces. Star Cinema of the most offensive variety, racist, reactionary, much worse than Babel .
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