A generationThe central highlands of Mexico are a paradise of passion. The married couple Juan (Carlos Reygadas) and Estalia López (Natalia López) were founded 15 years ago and have continued to this day. The majestic mountains in the distance make the horizon almost infinite. In front of them is their nature, mostly without fences, vast pastures, reservoirs, mud pits, as if they were born for the summer battle between little girls and boys, and forests with valleys in which young people had their first sexual experience. And experience emotional confusion.
The world-famous writer and farmer Juan and his wife are familiar with biology as veterinarians, and the cattle farm where their children grow up in great freedom attracts many people. Farm workers, cowboys, relatives and friends, artist groups. In the beginning, the landlord and spouse trained bloody bullfighting as an art of teamwork. Here, the dream of a free world meeting seems to have come true. The country road leads the self-sufficient Mexico City to Mexico City with its architecture, cultural activities and connection with the passage of civilized time. In Carlos Reygada’s film “Our Time” (“Nuestro Tiempo”, 2018), which premiered at the Venice Film Festival, nature and artificiality are still effectively linked together. The role of contact. Due to the excitement of passion, being expelled from heaven began in speechlessness.
Nature and marriage
Arte is screening “Our Time”, a nearly three-hour widescreen epic film, with the original Spanish version and German subtitles, exploring the relationship between self-reference and general philosophical reflections on the nature of marriage and affection. Landscape studies. The strangeness of the language heard—if one is not familiar with Spanish—is not limited to just one idiom. Phil (Phil Burgers) is hired to break the horse and speaks English. Understanding, and even love, is also seen as a question of language diversity. Juan, the self-actualizing jack-of-all-trades, seems to be equally at ease in all languages. In fact, his relationship with Esther was public, and she had sex with Phil, which was a matter of course for Juan. But here, there is also annoyance. It soon became obvious that his tolerance limit was their confidentiality limit. Esther changed, quit, no longer sharing her experience with him. Juan’s reaction is tentative questions, blame, jealousy and spying, and tries to pull Phil into his own passion scene as an accomplice in the public relationship. Esther felt betrayed twice. What seemed simple for years-everyone sleeping with everyone but meaningless-is becoming complicated.
This book is not only from the main actor Carlos Reygadas (Carlos Reygadas), but also the stage. It gives every attitude to nature with the meaning of existence. A wild bull killed a mule that couldn’t escape because the workers had tied it to the feeding cart. The young policemen were fighting each other on the edge of a slope without a sense of danger. The image climbs from the driver’s seat of the car to the engine, and then to the wheel suspension, as if passing through the internal organs of a machine. During the premiere of the timpani symphony in Mexico City, the image details followed the composer and the angry conductor, stagnating only on modern stained glass artwork (camera Diego García, Adrián Durazo). Symbolism, no matter where people look at it. Increased self-pain and love obsession of the character Juan.
Although the children seemed to grow out of the mud in the game pit at first, and among young people, the desire and invisibility without poetic sublimation led to the pain of love, but the independent agreement between Juan and Esther proved to be intellectual Comfort. “Our Time” shows the painful scene of open marriage, the consequence of which is the conflict between nature and the notions of civilization, freedom and loyalty. Those who are interested can take a look: Reygadas and Natalia López are also a couple in real life. Their children play here, which may make “Our Time” more exciting. Automatic novels conform to the symbolic meaning of nature. This movie looks best on a very large screen.
Our time Run at Arte at 10:35 in the evening.
