By Raul H. Perez Navarrete
Throughout history, everyday situations and common objects have been the origin of scientific concepts or images that eventually became artistic expressions. While for Isaac Newton an apple fall inspired the law of universal gravitation, and Salvador Dalí a piece of melted cheese gave rise to the clocks of the persistence of memory, Mexican actor Diego Luna was a staging of Hamlet what he sowed the seed of Abel, his first feature film: "What if we were wrong about the work during this time and really Hamlet killed his father because he loved his mother, then blame your uncle?".
Diego Luna (1979), who made his directorial debut in 2007 with a documentary on boxer Julio Cesar Chavez, opens this year, a peculiar film that deals with issues so entrenched in Mexican society as are the machismo and the idealization of the mother figure. Abel, played by Christopher Ruiz-Esparza, is a nine year old boy whose strange behavior kept him confined in a psychiatric hospital which has come to return to her home, made by his brothers Selene (Geraldine Galván) and Paul (Gerard Ruiz-Esparza) and Cecilia (Karina Gidi), his mother. Shortly after his arrival, Abel assumes the role of head of household in the absence his father (who emigrated to the United States), thereby imposing-and paradoxically-order in the chaotic family dynamics. Co-written
by Moon and Augusto Mendoza, the film is an interesting postcard from the painful aspects of daily life of our country and, in general, of our contemporary world such as migration, single parents and loneliness. Judicious mix of comedy and drama with a slow rhythm, the writers won a beloved film whose simplicity contrasts with the recent spectacular successes of the cinema as "Y Tu Mama Tambien? and Amores Perros.
Without doubt, another attractive aspect is the performance of the actors. Diego Luna's work on camera-experience began during his childhood, is evident primarily in the proceedings of the brothers Ruiz-Esparza, who have their debut in this film, and actress Karina Gidi Veracruz, with a film resume but little experience in the theater.
Without being outstanding, Abel is a good job that promises excellent projects by its director.
Throughout history, everyday situations and common objects have been the origin of scientific concepts or images that eventually became artistic expressions. While for Isaac Newton an apple fall inspired the law of universal gravitation, and Salvador Dalí a piece of melted cheese gave rise to the clocks of the persistence of memory, Mexican actor Diego Luna was a staging of Hamlet what he sowed the seed of Abel, his first feature film: "What if we were wrong about the work during this time and really Hamlet killed his father because he loved his mother, then blame your uncle?".
Diego Luna (1979), who made his directorial debut in 2007 with a documentary on boxer Julio Cesar Chavez, opens this year, a peculiar film that deals with issues so entrenched in Mexican society as are the machismo and the idealization of the mother figure. Abel, played by Christopher Ruiz-Esparza, is a nine year old boy whose strange behavior kept him confined in a psychiatric hospital which has come to return to her home, made by his brothers Selene (Geraldine Galván) and Paul (Gerard Ruiz-Esparza) and Cecilia (Karina Gidi), his mother. Shortly after his arrival, Abel assumes the role of head of household in the absence his father (who emigrated to the United States), thereby imposing-and paradoxically-order in the chaotic family dynamics. Co-written
by Moon and Augusto Mendoza, the film is an interesting postcard from the painful aspects of daily life of our country and, in general, of our contemporary world such as migration, single parents and loneliness. Judicious mix of comedy and drama with a slow rhythm, the writers won a beloved film whose simplicity contrasts with the recent spectacular successes of the cinema as "Y Tu Mama Tambien? and Amores Perros.
Without doubt, another attractive aspect is the performance of the actors. Diego Luna's work on camera-experience began during his childhood, is evident primarily in the proceedings of the brothers Ruiz-Esparza, who have their debut in this film, and actress Karina Gidi Veracruz, with a film resume but little experience in the theater.
Without being outstanding, Abel is a good job that promises excellent projects by its director.
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