Nadat Carlos Reygadas, die met films als Japón en Stellet Licht uitgroeide tot een van ’s werelds meest invloedrijke cineasten, met Post tenebras lux al een radicale stap in de richting van autobiografische fictie deed, neemt hij met het even poëtisch-intieme als visueel overdonderende Nuestro tiempo een logische, maar ambitieuze volgende stap. Hij speelt zelf de hoofdrol van dichter en stierenrancheigenaar Juan, die erachter komt dat zijn vrouw Esther (gespeeld door Reygadas’ echtgenote Natalia Lopez) een affaire heeft met een Amerikaanse vriend, paardendresseur Phil. Ondanks, of dankzij, de afspraken over een open huwelijk, lopen de spanningen op als Juan vindt dat Esther niet open genoeg is over haar gevoelens.
Reygadas gebruikt zijn unieke filmtalent (en dat van cameraman Diego Garcia) voor gedurfd ongemakkelijk en openhartig zelfonderzoek: een Kammerspiel over machismo en liefde, narcisme en verdriet, gemaakt met de bravoure van een klassieke western.

it isn’t difficult to define what unilateral love is; for example, that which one professes for forests or animals, what one feels for a place or a friend, that which we feel for our children or perhaps, even that which may be felt for one’s parents. but when we speak of love between a couple all approaches seem much more complex. although not often, we tend to ask sensitive questions: how do we distinguish love from possession? fidelity from loyalty? do we need sexual exclusivity? can love last forever? or is that which unites a couple to the end something more like habit? less common, however, synthesising the questions above, arises another question which is: when we love our spouse, do we always want their wellbeing above all else? or only to the extent that this does not affect ours? in short: is love relative? in a world that is coming to a close, that of fighting bulls, surrounded by love and family harmony, the couple in this film confronts these issues in a radical manner: by facing the imminent destruction caused by an extramarital desire. juan wants to live his love in the most absolute sense and expects the same in return. esther appears to be a revitalising catalyst. damage can be part of love, but can a couple survive such a situation without suffering an irreparable fracture? the film involves the presence and life of the fighting bulls: their instinctive passing of time. the bulls are a reference, not necessarily allegorical, of the life of humans: rational and animals, governed by their values but also subject to their instincts. the aim is not to describe love or death but to feel something similar to the experience of ceasing to be loved or having the impression of it. we will shoot landscapes, animals and people from tlaxcala. time will be told through the changing of the seasons; thoughts with more dialogue than i‘ve employed in previous films; the emotions with the sensations of the characters.
-Carlos Reygadas

Vanaf 3 oktober 2019 is NUESTRO TIEMPO te zien in de filmtheaters.

filmposter nuestro tiempo

Mexico, france, germany, denmark, sweden; 2018; kleur; 173 minuten; Dolby 5.1;
Spaans gesproken; Nederlands ondertiteld.

Credits

Regisseur:
Acteurs: carlos reygadas: juan - natalia lópez: esther - phil burgers: phil
Productie: jaime romandía, carlos reygadas - CO-PRODUCERS: michael weber, moisés cosío katrin pors, martha sosa fiorella moretti, anthony muir mikkel jersin, eva jakobsen maria ekerhovd
Camera: Diego García
Montage: Carlos Reygadas
Scenario: Carlos Reygadas
Sound-Design: Sound: Raúl Locatelli - SOUND MIXING: Carlos Cortéz Jaime Baksht

Over de regisseur:

Carlos reygadas is a mexican film director, writer and producer. he studied law in mexico city and later specialized in armed conflict law and the use of force in london. after quitting the mexican foreign service he made four short films in belgium before filming japón, which was presented at the rotterdam and the cannes film festivals in 2002, where it received a special mention for the camera d’or. the film was coproduced by himself and his long time producing partner, jaime romandía. in 2004 they produced amat esclante’s first film, sangre, and have since coproduced the rest of them. in 2005 reygadas premiered at the cannes film festival his second film, battle in heaven, in competition. also at cannes he was awarded the jury prize in 2007 for silent light and the best director award for post tenebras lux in 2012.

DIRECTOR’S FILMOGRAPHY
2018: NUESTRO TIEMPO (our time)
2012: POST TENEBRAS LUX
2007: SILENT LIGHT (luz silenciosa)
2005: BATTLE IN HEAVEN (batalla en el cielo)
2002: JAPAN (japón)

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