Reżyseria:
Lorenzo VigasScenariusz:
Lorenzo VigasZdjęcia:
Sergio ArmstrongObsada:
Luis Silva, Alfredo Castro, Jericó Montilla, Catherina Cardozo, Jorge Luis Bosque, Greymer Acosta, Scarlett Jaimes, Ernesto CamposOpisy(1)
Armando to bogaty mężczyzna w średnim wieku, który wabi do swojego domu młodych mężczyzn, oferując im pieniądze. Nie chce ich dotykać, a jedynie oglądać ze ściśle określonej odległości. Śledzi także podstarzałego biznesmena, z którym wydaje się go łączyć traumatyczna przeszłość. Pierwsze spotkanie Armanda z ulicznym chuliganem Elderem ma dość gwałtowny przebieg, ale nie zmniejsza to fascynacji tego samotnego mężczyzny silnym i przystojnym nastolatkiem. Dzięki zachęcie finansowej Elder regularnie odwiedza Armanda, co owocuje powstaniem niespodziewanie intymnej relacji... (Solopan)
(więcej)Materiały wideo (2)
Recenzje (3)
The very good performances by the two leads and excellent cinematography kept my attention throughout the film. I don't know if it was the poor quality of the subtitles and their occasional absence, but it was quite difficult to navigate the actions of the main characters. Maybe it was also the slightly different mentality, which Venezuelans certainly have compared to us Europeans. The theme concerning the relationship between an older man, who certainly isn't lacking financially, and a young man, who is financially struggling, caught my attention. I am therefore inclined to give the film a weaker four stars.
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An intriguing film that I mainly see as an opportunity to explore a different setting and understand the unique story of two men finding their own path together. One is older, the other too young. They have an intimate relationship with each other, but at the same time, they are each different. The environment helps a lot.
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This film’s uncommunicative narrative doesn’t give us many answers, as it limits the information it provides about the central characters to what we are seeing. Doubts persist even after a plot twist at the end of the film that doesn’t answer questions regarding Armand’s and Elder’s motivations, but only raises more questions. Though the two actors, whose reactions often lead us to wonder who or what they are observing, turn in convincing performances, they neither help us understand the characters’ behaviour nor mitigate the reserved nature of the film, which is in large part due to the detached observational style of the long static shots, in which it is obvious how much care the director and cinematographer took with the compositions in terms of depth of field and keeping the actors at a certain distance from the lens. In the shots with Elder, for example, we see more things happening in the background, which corresponds to the young man’s greater interaction with the outside world. Conversely, Armand’s isolation from his surroundings is reinforced by shots that separate him from the surrounding space. Thanks particularly to the filmmaker’s clear, consistently followed concept, From Afar is a noteworthy study of two contrasting characters. However, it does not offer commentary about life in contemporary Venezuela, as a similar story could take place in practically any given city. Also, in its negligible consideration of the influence of the place and period on the protagonists’ behaviour, From Afar is too consistently minimalist for its own good. 65%
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Galeria (26)
Photo © Malandro Films
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