Best of ’16, Honorable Mention: Kékszakállú

ke%c2%a6ukszaka%c2%a6ullu%c2%a6u-07Kékszakállú. Gastón Solnicki. Argentina.

The link between Kékszakállú, Argentine director Gastón Solnicki’s first fiction feature, and its source material, a turn-of-the-century one act opera by Hungarian composer Béla Bartók based on Charles Perrault’s La barbe bleue, is a lot less direct than Catherine Breillat’s 2009 feature Bluebeard, but it too finds a feminist footing to its tale of somber youth. Surrounding a number of young women at crucial turning points in their adolescence, Kékszakállú observes its rotating subjects with an abstract, elegantly composed eye and weaves Bartók’s music into the film in fades and bursts. The volatile pirate with a penchant for murdering wives never explicitly presents himself, but his presence is certainly felt. Kékszakállú is an unusual film, one that’s both alienating and inviting… frustrating and satisfying.

ke%c2%a6ukszaka%c2%a6ullu%c2%a6u-01Kékszakállú premiered at the Venice Film Festival in the Orizzonti section. It’s currently playing at a number of film festivals across the world. I don’t have any distribution information for the film.

With: Laila Maltz, Lara Tarlowski, Katia Szechtman, Denise Groesman, Pedro Trocca, Natali Maltz, María Soldi, Mabel Machado, Lucas Wasserman, Martín Wasserman, Gabriela Brietman, Alberto Groesman, Sebastian Tarlowski, Carmín Tarlowski, Mateo Tarlowski, Yanina Solnicki, Michelle Haber, Miranda Costa, Sergio Aracri


One comment

  1. Pingback: Best of 2016: Film | Fin de cinéma

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