My loneliness has wings, by Mario Casas: falsely quinqui design cinema (**)

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We agree that the autotune it is not necessarily bad. It all depends on how, when and what it is used for. Like almost everything. Whether he used it until Radiohead, little debate remains. He autotune It is, however we put ourselves, the sound of the century that we step on. The problem is when you only hear the autotunewhen it is no longer an expressive tool or even a tuning technology to correct errors, but is instead autotune and point. Then, neither the music nor the lyrics nor the gesture nor the manner matter, and the autotune It’s just a sign, a tattoo, a piss (excuse me) to mark the territory. That’s when the autotune becomes one of the derived consequences (or outgrowths, as you like) of the algorithm, when the autotune It is one more brand of clothing or accessories that you have to wear to be part of the group.

my loneliness has wings is entirely -and that is why the previous paragraph- a film autotune. That is to say, each one of his style decisions, his moral intentions and his ideas about the mise-en-scène are there as traits for identification, very aware at all times of what is what is worn and what is what has the obligation to like Let’s say, and to look for the positive side of the debut director’s effort, that it is a film so aware of itself, so well studied and given to tracing the patterns of the spirit of the time (or Zeitgeistwhat the poet would say) that ends up being even touching. As an anthropological document of what audiovisual language derived from in the age of platforms (ours) it has no rival.

The story of a young man harassed by the medium is told. Óscar Casas, Mario’s brother, gives life with the rigor and fragility due to a neighborhood boy who lives with his grandmother in the suburbs beyond the suburbs of Barcelona. His father is in prison and the only means he has left to survive are his talent for painting and, more earthly, robbing jewelry stores with his two colleagues whom they embody with surprising energy and attitude. candela gonzalez (attentive) and Farid Bechara. The best of the film, without a doubt, are some performances thrown into the void. Otherwise, the film copies the forms of the most classic quinqui cinema, but from an aestheticism so empty, exaggerated and false that it is disturbing. In his desperate search for something resembling the truth, my loneliness has wings he confuses commitment with noise, poetry with gradient, and depth with blur.

If you like, Mario Casas, with those sequence shots that are as repeated as they are on top of each other, those shaky close-ups and that way of photographing the night that is reminiscent of any other movie, shows an exceptional ear for identifying what needs to be done and what needs to be done. . Pure autotune. No one can argue with the director about the intelligence of good students who are more eager not to disappoint than to say something new. It is not that there are big mistakes, you simply do not see the successes.

But with everything, where the film goes astray is in its desire to approach a reality that is simply alien to it. Let’s not say you don’t know because that would be going too far. With its contradictions, quinqui cinema has always been a form of tense denunciation, submissive acceptance and heroic exaltation at the same time. Everything at once. In any case, he knew in which swamp he was moving because it was always a response to the norm, to what was established, to what was given. Now, my loneliness has wings commits the strange and fatal juggling of proposing herself as an heiress of the quinqui by dint of turning the soul and meaning of that cinema into consumable merchandise, in pure norm. about the autotune what we said before

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