The new work by the duo formed by directors Gastón Duprat and Mariano Cohn (although virtually the case of a trio all feature films have been written by Andrew Duprat, Gaston's brother) Honey, I'm going to buy cigarettes and back, like the previous two - Artist (2008) and The man next door (2009) - brings back a lot of salt in their pockets and fabric for cutting. In previous work, Cohn and Duprat presented some interesting topics not go unnoticed, and renews its third fiction that custom. If The Artist raised the issue of the boundaries of art and artists, and The man next door questions were primarily social, in his new film stress with a game between creation, creator and creature It does not seem innocent. One of the potential is ethical discussions as well as aesthetics, and can be summarized simply: what responsibility are a writer, a painter or, for that matter, a film director on his characters. Are they responsible for the circumstances facing creatures once released into these worlds of paper or celluloid? How far can afford to intervene in fact they will live or how they are going to do? Honey, I'm going to buy cigarettes and go back start in one place and maybe a remote time, the story of a merchant who is hit and killed by lightning in the desert. Miraculously, and refuting the meteorological laws indicate that lightning never strikes twice in the same spot, the man is revived by another shock. As with Christopher Walken in The Dead Zone , that go back to the light and leave you a gift. But far from Cronenberg, the man from evil and playful (as a boy), that power will not live as a punishment or use it with prudence, but anonymously for fun at the expense of others (the old distinction between "laugh" or "laugh").
Some believe that the artist's work is that of a mere clerk, a medium, the essential tool for the stories move from the limbo to matter-a necessary evil, "and that the less you notice your presence will work perfect . In front are those who believe it is a powerful demiurge, whose privileges are to be able to have their characters for the slap, just for the whim of telling a story at home. Here lies the Bedouin revived and directors. As they criticized the Cohen brothers more than once, or themselves in The Man the lad or these other brothers (Cohn-Duprat), used to give character to another, Ernesto, the protagonist of Honey, I'm going to buy cigarettes and then or, and through him to manipulate and not to demolish one but several destinations cruel. Ernesto is a man crushed by more than 60 years of a life rich in frustrations, which the directors, through a narrator Alberto Laiseca, acting master himself, it can qualify as mediocre. That is true: perhaps your life and Ernesto himself be mediocre but also perhaps, is a conclusion that the viewer could get by itself. Open qualifying course of mediocrity allows an overflow of black humor and harsh about it and this is where abuse is suspected. As if the game was causing damage. Bedouin that is beginning to Ernesto in his town and he plans to return in time, the date he wants to relive 10 years of his life the way you see fit. In that time, only now it will delay it takes to go buy cigarettes at the kiosk (hence the title). In return you will receive one million dollars. Ernesto different pasts will always showing signs of incompetence, cowardice and other defects. But far from no way out, seems to be the managers themselves who hide and seek with mischief, just to enjoy their defeats is a joke and not a criticism of mediocrity. Cohn and Duprat
jump on top of a pyramid of predators, devoting himself to see and enjoy the mote in your neighbor's eye. Below them is the narrator, who does not hesitate to laugh at the mediocrity of Ernesto but also the Bedouin, who, with power in their hands, they also only managed to mistreat others. The resurrected Ernesto abused and this, of all those believed to have collaborated in the past to punish him with a present unhappy. The effective result is a comedy but bitter (bitter), in which principals excel again getting actors like Emilio Disi and Dario Lopilato (who plays Ernesto different stages of life) of their television stereotypes, to round very interesting interpretations. Special mention to the well-known theatrical talents of Don Alberto Laiseca, whose tone between rural and sadistic, get to have grace the more arbitrary cruelties.
Article originally published in the Culture section and show Página/12.
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