Far from the vision of the Vikings that Richard Fleischer offered in 1958, Robert Eggers now signs a brutal film, with clear Shakespearean overtones (even the protagonist is called Amleth), where blood and revenge run and do matter.
Two and a quarter hours of shocking, immersive, energetic, stimulating and almost hypnotic. A great work of style supported by a vigorously powerful and well-told story. It is also a new look at action, epic and adventure cinema but with a good touch and excellent performances thanks to its powerful cast.
Eggers, the filmmaker responsible for two interesting previous titles such as The lighthouse (2019) and The Witch: A New England Legend (2015), has known how to turn the way of understanding Viking cinema, not only from the making, but also as a screenwriter. north man takes up the Viking legends of the 10th century, in Iceland, where a Nordic prince, advised and provoked by his mother, gathers a group of violent and sadistic warriors to accompany him on his divine mission, to avenge the death of his father at the hands of the leader of an enemy group that has taken refuge in the vicinity of his island.
To give greater realism to the ferocity of the images, the North American filmmaker from New Hampshire does not go around with surrounding or intuiting shots. No. He is going to catch the viewer with an artistic, iconographic and photographic experiment while he creates a particular atmosphere that is accompanied by some turns that, although they can be foreseen, give him an air of raw and visceral experience. That is to say, what is usually contrary to the usual ‘soft’ action cinema to which we are accustomed.
In addition, for this it takes advantage of a very ‘Nordic’ cast. There are the Swedish Alexander Skarsgård, the Icelandic Björk or the Danish Claes Bang, accompanied by Nicole Kidman, Anya Taylor-Joy, Willem Dafoe and Ethan Hawke. All waiting to enter Valhalla after epic and savage fights, laced with abundant testosterone and epic visions of the cosmos on fire.
The man from the north is a very different film than what is usual. Maybe that’s why it marks a new course. We’ll see if it’s the north one.
It is a ‘slasher’ that can be seen in classics by authors such as the Italians Dario Argento or Mario Bava. A simple group of Spanish tourists travels to Venice with the intention of having fun, oblivious to the problems that surround them. There they will be forced to fight to save their own lives.
Álex de la Iglesia has used farce as a method to tell a horror story, because it allows exaggeration, contrast, baroque landscapes and impossible characters involved in an incredible situation.
‘A little plan… like saving the planet’
Abel and Marianne discover that their 13-year-old son Joseph has secretly sold his most precious possessions. But he has done it for one purpose: to save the planet.
‘Dog. A wild ride
Briggs is a guy who travels the Pacific coast, just in time to attend the funeral of his best friend. He is accompanied by his pet Lulu, a Belgian Shepherd. One of them has a week to live, while the other lives as if each day were his last.
Who is Karim D.? A new writer, young and committed? Or his alias, Arthur Rambo, author of hate-fueled messages written long ago and pulled, one day, from social media websites?
Charly is the editor in chief of a fashion magazine. When her father dies, she inherits the family business: a butcher shop, which is not exactly her passion in her life. She is about to sell it when Marcial, who used to work for her father, wants to take over her, but she is thinking better of it.
Watching the news, Takemichi Hanagaki learns that his old high school sweetheart has been murdered by a group of villains known as the Tokyo Manji Gang. Hanagaki lives in a horrible apartment with paper walls, and his boss, six years younger, treats him like an idiot.
‘Notre Dame Burns’
The film recreates the fire that the Cathedral of Notre-Dame de Paris suffered in April 2019. The virulent fire caused its emblematic spire and the roof of the Gothic cathedral to collapse and an hour later they collapsed.