ORIGINAL TITLE Moon
YEAR 2009 TIME: 97 min. COUNTRY: United Kingdom
SCREENWRITER DIRECTOR Duncan Jones Duncan Jones, Nathan Parker Clint Mansell
MUSIC PHOTOGRAPHY
Gary Shaw CAST Sam Rockwell, Kaya Scodelario, Matt Berry, Malcolm Stewart, Benedict Wong, Dominique McElligott, Robin Chalk, Kevin Spacey
PRODUCER Sony Pictures Classics / Liberty Films UK
First British film director Duncan Jones after his 2002 short film Whistle written by Nathan Parker. Has allowed its young director to win the BAFTA for best British newcomer director last year and win best film at the Sitges Festival.
Apparently, and I stress it's apparently Moon tells the last days of Sam Bell (Sam Rockwell) in the job has been occupying the last three years as supervisor of a mine planted on the moon. Good family man, Sam the hours you have left to be with theirs. But something strange starts to happen when Sam begins to feel more tired and have visions and, finally, this causes an accident that awakens without any problems ... or so it seems.
Life on Mars, magnificent sci-fi detective series of the BBC, he dared to place his protagonist, Sam Tyler, in a past time without any of the comforts of being a cop in the present, no CSI techniques or their research teams. But the important thing was not that, in fact, police cases were fairly predictable. What I really wanted was to place the character before the world, observing their reactions and dizzy, with the audience, who looked bewildered by the madness of the trip to Manchester police. As read opening the legendary series, is it a dream? Are you in a coma? Or realmene has traveled through time? I quote this masterpiece of television because Moon nothing is as it seems, and follows a very similar game in the confusing network. Fairly intelligent and not at all tricky, the story gets put to the viewer straight into a Kafkaesque nightmare that is becoming as we cleared layers of fabric. Right? "Lie?
entire film is based on that game between reality and fiction about the identity of Sam. The miner is one of the kaleidoscopic creations the big screen has seen in recent years. Presented as a sober man, simple, hardworking, we discover, with him, the chilling reality of a life modeled, carved in minute detail. As one who dared to set foot outside the cave and tried to warn the rest of the shadows were mere illusions. Especially noteworthy in this sense the presence of a city created by Sam Wood (plural) over time, it is not only the first mirror, as viewers, we are facing. Sam you have been placed in a false room in a false reality. As he does with his toys. So when the new Sam appears, the model completely detruye trying to find a way out. When a man finds himself, when man sees in the mirror as it is, is when it really is able to act consistently. This occurrence, hedge funds, the presence of self, causes a particularly ominous development. If before kafka quoted by Sam living nightmare, unable to contact the bureaucrats withheld, must do it again. If the new Sam has learned from its mistakes, has seen what the real world, while the original Sam is destroyed, remembering also the recent District 9, which put the character helpless in the hands of a multinational I worked feverishly. Like the selfish Wikus film Neill Blomkamp, \u200b\u200bthe character finally understands his fate and accept the sacrifice as necessary to give yourself a chance to start from scratch, delete the experiences of the cave to take a chance on earth, in the real world.
is because we are dealing with an issue latent in society, the omnipresent control of multinationals and the ability to control ourselves, to create us as serial fashion. Living in a sterile world, completely distorted the colors to be removed in a truly minimalist design space, seems to put our character in a non-place, a void in the middle of nowhere, where every room has the same aesthetic and whose only company is an artificial element (Magnificently voiced by Kevin Spacey) to, the vulgar, to give talk. As envisioned in Bradbury Fahrenheit 451 in the future would be absorbed, living through screens and we would ask anything. And the robot also marks a curious point in thinking about Sam's own identity. In a lifeless place, where everything is created and there is nothing organic, evolving machines themselves, have the ability to seek to be something for which they are not designed. As Roy Batty in Blade Runner as Wall-E in the movie of the same name, the machines aspire to be, and Gerty, who was created to serve the multinational to the Sam works, and to withhold information all the time, brings an empathetic relationship with his "boss" and choose to break the chains, face his creator, and sacrifice because he is "so that Sam is right." A decision that, while it may seem positive for the character (actually Gerty is all that is left) leaves the question of whether something is human or Gerty Sam has helped him out of empathy "cybernetics" by pure compassion and knowing that has nothing.
But Moon is also a way to understand and create films. 3D currently reigns in the lockers. Avatar has filled rooms in the middle of a crisis and every self-respecting blockbuster film seems to need a wash face in post so that people will pay twice as much for her. Overflowing with special effects, breakneck pace and always insane ability to stun the viewer through synergistic stimulation thousand not realize that is not really witnessing nothing more than a few extremely well-made digital dolls. Moon commitment to the drama the character and an impeccable production of a very classic understated style. Without additives, with the special effects just and necessary, the tension rising, and outstanding performance (twice) Sam Rockwell, Jones comes out triumphant at the time of recovering the humanistic style of science fiction with few weapons but excellent employee. Without seeking the suspense or surprise (when Sam has the accident, the assembly consists of a cut to the new Sam, there is no effect), Moon overwhelms the ability to reach viewers directly and his outstanding final half hour, which compensates for slight errors in the script.
therefore be said that without revolutionize science fiction (not so intended, really) did rescue the aged flavor of the most humanistic of the genre productions that occurred during the 60, 70 or 80 and used spacecraft , cyborgs and other (already) entelechies to ask what is man. Moon is brave in spite of its lack of innovation. And it is for his honesty and romance, and who dares to tell a little story and well basted in a genre from the 90's used to stun the mind of the viewer with a montage frantic and ultra-realistic special effects that go beyond the perceptive capacity more than one. Therefore, it can not be more than welcome for this great achievement made by Duncan Jones. Hopefully know more about him as filmmaker and son of David Bowie.
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