The first time I interviewed Valgur it was in their Mexico City living room, surrounded by piles of broken synthesizers. It was 2019 and the band’s debut album Zapandú was gaining underground buzz for its unusual collage of electronic sounds and esoteric motifs, which included eerie vampire aesthetics and dreamy Zapotec poetry. But underneath their otherworldly creations, universally human questions of religion, family, and indigenous identity have always reigned supreme.
During that initial chat, the sibling duo of Elizabeth and Hugo Valdivieso expressed a growing fascination with jazzy prog ensembles,...
During that initial chat, the sibling duo of Elizabeth and Hugo Valdivieso expressed a growing fascination with jazzy prog ensembles,...
- 2/21/2024
- by Richard Villegas
- Rollingstone.com
Within the first ten minutes of Nicholas Ray’s unimpeachable classic Rebel Without a Cause Jim Stark (James Dean) wails, “You’re tearing me apart!!!!!” This is not an instance where the film crescendos with an emotional breakdown, but begins. Jim Stark is a staggering portrait of apocalyptic masculine adolescence ripping apart a young body through expectations put on him by society and his own self-imposed fears that he could turn into his passive father. Jim Stark is one of the defining characters of cinematic melodrama with his unbridled emotional honesty laid bare for the world to see. He physically cannot keep himself from gnashing, wailing, and screaming in the face of emotions that bubble to the surface. Melodrama opens the lid on these reactions and rides that feeling to cinematic honesty and authenticity. Melodrama is realer than real; a hyper-stylized evocation of feelings that we’re all familiar with as human beings.
- 12/16/2017
- by The Film Stage
- The Film Stage
Veteran Mexican auteur Arturo Ripstein is behind numerous classics such as "The Castle of Purity, " "The Place Without Limits," or "Depp Crimson," and despite being in his seventies, the prolific artist continues to take risks, as is the case with his latest tragicomedy "Bleak Street." His close relationship with Spanish master Luis Buñuel is evident in the film both thematically and stylistically, yet it's propelled by Ripstein's singular affinity for finding Mexico City's dark corners and the characters that inhabit them.
The filmmaker's son, Gabriel Ripstein, is now also a director and producer whose debut feature "600 Miles" represented Mexico in the Best Foreign Language Film race at this year's Academy Awards and which will be released in the U.S. by Pantelion later this year.
"Bleak Street" will be released theatrically on January 20 at Film Forum in NYC by Leisure Time Features
The official synopsis reads as follows:
In the early morning hours, two elderly prostitutes go back to their hovels. They are not tired from working; they are tired of not working. One has problems at home with her teenage daughter and cross dressing husband. The other lives with her invalid mother and loneliness. But that night, they have a date to celebrate the victory in the ring of two wrestlers, twin midgets wearing masks. At the hourly hotel, in order to rob the tiny men of their earnings, they drug them with eye drops. But the dose proves fatal. They murder them unintentionally. Scared and confused, they decide to hide from the police and run away together to live, as they always have, on Bleak Street.
You can watch the trailer below...
The filmmaker's son, Gabriel Ripstein, is now also a director and producer whose debut feature "600 Miles" represented Mexico in the Best Foreign Language Film race at this year's Academy Awards and which will be released in the U.S. by Pantelion later this year.
"Bleak Street" will be released theatrically on January 20 at Film Forum in NYC by Leisure Time Features
The official synopsis reads as follows:
In the early morning hours, two elderly prostitutes go back to their hovels. They are not tired from working; they are tired of not working. One has problems at home with her teenage daughter and cross dressing husband. The other lives with her invalid mother and loneliness. But that night, they have a date to celebrate the victory in the ring of two wrestlers, twin midgets wearing masks. At the hourly hotel, in order to rob the tiny men of their earnings, they drug them with eye drops. But the dose proves fatal. They murder them unintentionally. Scared and confused, they decide to hide from the police and run away together to live, as they always have, on Bleak Street.
You can watch the trailer below...
- 1/20/2016
- by Carlos Aguilar
- Sydney's Buzz
Back when Greek auteur Yorgos Lanthimos first clambered barefaced upon the international stage with his daring Dogtooth, quite a few hastened to mention its striking resemblance to Arturo Ripstein’s similarly self-contained The Castle of Purity, made some 35 years earlier. In the wake of his first English-language effort The Lobster, one might even go further and compare all that Lanthimos has done thus far to Ripstein’s film: the imposed isolation behind walls that are both physical and psychological, creating a world whose structure is founded upon seemingly intransgressible rules and boundaries. Despite the jump in locale and language, The Lobster is very much a continuation or extension of the themes found in Dogtooth: the sequestered family abode is replaced by an isolated hotel complex; the overprotective father by a domineering hotel manager – the brilliant Olivia Colman. Perhaps the most significant difference, at least on first glance, is that...
- 6/25/2015
- by Nicholas Page
- SoundOnSight
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