Movies in the Sacromonte from the 21th to the 23th of august 2012

Movies programme in the Museo Cuevas of Sacromonte

Movie: 22 hs

Price: 3 €

– Tuesday 21th august

Le Havre


Finlandia 2010

Director: Aki Kaurismäki

Cast: Jean-Pierre Darroussin, Jean-Pierre Leaud, Kati Outinen


The Finnish director Aki Kaurismäki has come to France for his latest film, making explicit his indebtedness to figures like Tati and Vigo. It is seductively funny, offbeat and warm-hearted, like the rest of his films, but with a new heartfelt urgency on the subject of northern Europe’s attitude to desperate refugees from the developing world. The movie is set in the port city of Le Havre, maybe summoning a distant ghost of L’Atalante, and it has a solid, old-fashioned look; but for the contemporary theme, it could have been made at any time in the last 50 years. André Wilms is Marcel, a phlegmatic shoe-shine guy who plies his trade around the streets as best he can. He discovers a young boy called Idrissa (Blondin Miguel), an illegal immigrant on the run, and hides him from the authorities, including the tough Inspector Monet, superbly played by Jean-Pierre Darroussin. It’s a drama that plays out in parallel with private heartbreak: Marcel’s gentle wife Arletty, played by Kati Outinen, is in hospital. The drollery and deadpan in Kaurismäki’s style in no way undermine the emotional force of this tale; they give it a sweetness and an ingenuous, Chaplinesque simplicity. It’s a satisfying and distinctively lovable film.


2011 Cannes Film Festival: The FIPRESCI prize


– Wednesday 22th august

The Yellow Sea


South Corea 2010

Director: Na Hong-jin

Cast: Cho Seong-ha, Jung-Woo Ha, Kim Yun-seok

The Chaser director Na Hong-jin returns to deliver this action-packed suspense thriller about a desperate cab driver who stumbles into a treacherous conspiracy after agreeing to perform an assassination in South Korea. Gu-Nam (Ha Jung-woo) drives a taxi in Yanji City. Located between the borders of North Korea and Russia in Northeastern China, Yanji City is home to nearly 100,000 Chinese-Koreans known as Joseonjok. Six months ago, Gu-Nam’s wife travelled to Korea in hopes of earning some extra money. He hasn’t heard from her since. In addition, Gu-Nam has lost a great deal of money at mah-jongg. He gets a rare opportunity to get out of debt, however, when he crosses paths with Myun-ga, a hired killer who recruits him for a one-time job in South Korea. Reasoning that he will have the opportunity to search for his wife while he’s there, Gu-Nam accepts. But shortly after arriving in South Korea, Gu-Nam is framed for another crime. As he flees from the cops, a vicious crime boss (Cho Seung-Ha), and a determined assassin, the terrified cabdriver realizes he has walked right into a deadly trap. Now, unless Gu-Nam can discover who is behind the conspiracy and why he is being hunted through the streets of Seoul, he may never see his beloved wife again.


– Thursday 23th august



Spain 2011

Director: Ignacio Ferreras

Writers: Ángel de la Cruz, Paco Roca, Ignacio Ferreras, Rosanna Cecchini

Music: Nani García

Director of photography: David Cubero


Emilio is a dignified, quietly spoken gent of unspecified advanced years, physically spry but mentally succumbing to the confusions and hallucinations of Alzheimer’s. He’s placed into a retirement home by his exasperated adult son Juan, where he’s shown the ropes by wily, fast-talking Argentinian resident Miguel. He is one of the more alert and astute “clients” of the institution, and thinks nothing of conning small amounts of cash from those more befuddled than himself to Emilio’s bemused dismay. The script traces the changing course of Emilio’s relationship with his new friend, an unmarried and childless man whose genially cynical façade might perhaps hide a more malevolent streak.

Economically adapted from Roca’s critically-acclaimed 2007 text by four scriptwriters including Roca and Ferreras, Wrinkles takes a commendably unsentimental and nuanced approach to a complex subject, one that avoids melodramatic situations and simplistic characterizations while adhering to certain conventions of this particular sub-genre. While Emilio is essentially a well-meaning surrogate for the audience to explore the retirement home’s spaces, ways and inmates, Miguel emerges as a fascinating, three-dimensional figure despite this being an old-fashioned example of 2-D animation, executed with 21st century digital technology.



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