In the contracts that have passed on the critical praise and the record of the record, the “Amili” of Pierre Gionte, which is a strange -time game about a strange Parisian woman who finds love through random actions, endured in a pop culture and an effect on a generation of directors of directors, both better and certainly for the worst. However, the imitators were sometimes clear as it could not be denied about what they borrowed from it, such as the Mexican writer and director Urzola Parba Hobbner, in her first beloved, “Corina”.
Agoraphobic, 20-year-old, lives in Guadalajara-second largest city in Microbolis and the birthplace of Gyremo del Toro-title character, which is played by Nayan Gonzalez Norfind (“New Arrangement”, wears Pots, a maxi skirt and sport Bob Bob Bob Bob French. As if the visual similarities with the romantic Jeunet myth were not really blatant, “Corina” begins with a voice on the narration on the memories of the past that narrated the childhood of the hero of the novel stained with the tragedy in the wake of her wet father’s death. The isolated trends of her mother, Al -Fakhi Rene (Carolina Politi), reduced the world of Corina to only a few blocks. She never traveled outside the limited limits you consider safe. She goes to work in a publishing house (inside a building for the newspaper company), then to the nearby grocery store, then returns home for its steps.
But despite the familiar preparation of the ParaPa Hopner’s character, the narration develops into its own peculiarities, not only through its Mexican context or because Corina wants to be seen as a writer, but because his observations about self -influence and courage and the value of mobility outside the individual comfort zone (actually in this case, it expands in a deliberate manner on the “notes”. Both films participate in an anomaly tone A tendency to look at the bright side, but their paths differ.
She is tired of her job to correct pulp novels, Corina behaves of her character when the publisher faces a problem with her most profitable authors, Xareni Silverman (Mariana Giménez). Laws are unable to persuade Silverman to change the end to her last novel, which contradict the expectations that were placed in a series of satisfactory in a satisfactory way that is likely to flounder. After illegally holding the manuscript, Korina rewrites the conclusion by giving it optimistic. She does this for her personal investigation, but the modified text accidentally finds its way to its president’s office. The consequences of this in this development, and calls for the mind, may not be eligible for the “flower” of Pedro Aldofar “” flower flower “, unexpected, but puts Corina on a reasonable growth journey.
Gonzalez Norfind tends to a Corina boom near the safety of her home, the aversion of the character of new interactions and experiences with a compound of anxiety and volatile physical. The dialogue feels that it is a secondary performance in the modest design. Wherever Corina walks in its restricted field, it is called the “Dos Estaciones” cinematic photographer, as if the framework can barely contain it.
As the supportive mother of Korina, the humorous Politi tenderness makes an unforgettable presence on the screen, while Christo Fernandez, who plays a new writer in the local store named Carlos, does not enter the image as a romantic interest, but a friendly ally. This is the only ones who do not master romance as a narration engine, even if Corina seems to love him.
The brightly saturated colors of Corina clothes contrast with silent gray colors in the publishing house offices. It is a clear aesthetic option if it occupies a different wavelength. At home, her colored clothes coincide with pink walls and dramatically decorated with postcards and Knikkknacks to take a household look, but she also inevitably calls for Ameli’s strange mind. “Corina” feels distorted enough for this deliberate aesthetic to register, but not as much as it overwhelms the image. This balance also permeates the ideas of the Parba Hopfner filmmakers.
Ultimately, the strange pleasures of “Corina” give the way to the surprising defense of amazing expectations and happy ends in the face of a world in a state of chaos. Barba Hopfner, the movie’s movie hero, is facing her compared to the pessimistic mentality of her literary hero. The latter offers a strong argument for how people’s sympathy restrictions, on the pretext that indifference takes over the tasks of suffering. However, while Corina grew up in an environment of suffocating caution, her brave brand claims that awareness of the evils that suffer from reality, I met the desire to search for joy in this darkness, can be radical. No global view of women is completely incorrect; It is in the middle areas between ridicule and optimism that “Corina” goes beyond ridicule and reaches wisdom.
The film maker “Corina” places in a rare medium in Mexican cinema: There is no artistic house that is difficult to display like that in international festivals, nor broad comedy other than teeth that suffer from excessive faces in identifying fluids and vulgar stories. Paraba Hobbner’s artistic voice comes out from behind the shadow of the references to get the first auspicious picnic to have legs to hesitate outside Mexico. Unlike “amélie”, the fulfillment of Korina has not been reduced to find a romantic companionship, but to drop the opportunity to create her own stories on the page and in life. Even if the motivation is to reduce “Corina” to adapt to a well -known movie, in the ends, he rewrites itself to something new.