Leonor's interactions with this surrogate Ronwaldo reveal that she relies on storytelling to make sense of the insurmountable loss of both a loved one and her beloved profession. Trapped inside this limbo as her body lies in a hospital bed, she clings to her former life behind a typewriter. As her spirit wanders into Ronaldo's high-octane plight or sneaks into a room during an intimate scene, Leonor's hands move spontaneously as if they're still desperately pressing the keys to rewrite the plot. For the heroine, stylized battles and overly dramatic lines provide a haven where the good guys often emerge victorious, where there is little mystery, and where she doesn't have to confront her grief process.
It is Francisco's silent turn as Leonor expresses her deep sorrow - that the art form she adored has taken her son from her - without explicit explanations but through stunned facial expressions or tears she experiences as she watches a script come to life before her eyes. By including her in The Return of the Kwaju, the director allows her to take charge once more, dictate the fate of others, and possibly change their own.
Ramirez Escobar's bizarre brand of fantastical whim, however, is not intended for the movie's Leonor's afterlife. The further the double story progresses, the more we realize that what we understood to be the real world still operates by the rules of movie magic. As Rudy decides to haunt his mother's disembodied conscience, the layers of both planes of existence begin to overlap in hilarious and poignant ways. Cinema, as conceived by the director, is a vessel for life itself to be questioned and examined. Even tales with surreal characteristics still hold much truth about the human condition.
Unexpected in its finest manners, "Leonor Will Never Die" recalls the daydreaming qualities of Apichatpong Weerasethakul's work, Spike Jonze's "Eternal Sunshine of a Spotless Mind," and Japanese horror comedy.One piece of dead. Through the low-resolution pleasures of translucent ghosts and television screens as portals, the film reaffirms the subtlety of the medium within the reach of the right artist. From part to part, the mechanics of this adventure time and again startled us.
Significantly near the conclusion of this original film, RamÃrez Escobar expands his descriptive traits even further, once and for all blurring the lines between the fictional and the behind-the-scenes make-believe. Not only does the gritty director feature a surprisingly cheerful musical number, but by not having a conventional score makes it clear that what cinema immortalizes can never be killed. Through her films, Leonor is truly eternal.
Now playing in theatres.
Source link
0 Comments