martes, 26 de febrero de 2019

El reino 'The Realm' (Spain France 2018 - Rodrigo Sorogoyen)[Spanish][English Subs] torrent







































ENGLISH
The Realm
A Spanish politician whose high-class lifestyle is based on nefarious and illegal business threatens to break his entire party after a newspaper expose him to the public eye.

Manuel is a crooked politician who enjoys the lifestyle that kickbacks afford. He eats at fancy restaurants, parties with his friends on yachts, and provides a very luxurious lifestyle for his family. Manuel brazenly bribes, extorts, and pays off anyone who threatens to expose the activities of his inner circle. When he is singled out to take the fall for a case of fraudulent government contracts, rather than admit to any wrongdoing, Manuel decides to sell out his whole party in an effort to avoid jail time. It’s a decision that puts many lives at risk.





ESPAÑOL
Título original
El reino
Año
2018
Duración
131 min.
País
España
Dirección
Rodrigo Sorogoyen
Guion
Isabel Peña, Rodrigo Sorogoyen
Música
Olivier Arson
Fotografía
Álex de Pablo
Reparto
Antonio de la Torre,  Josep Maria Pou,  Nacho Fresneda,  Ana Wagener, Mónica López,  Bárbara Lennie,  Luis Zahera,  Francisco Reyes II,  María de Nati, Paco Revilla,  Sonia Almarcha,  David Lorente,  Andrés Lima,  Óscar de la Fuente, Laia Manzanares,  Max Marieges
Productora
Coproducción España-Francia; Tornasol Films / Trianera PC AIE / Atresmedia Cine / Le Pacte / Mondex & Cie / Bowfinger International Pictures

Género
Thriller. Intriga | Política

Sinopsis
Manuel (Antonio de la Torre), un influyente vicesecretario autonómico que lo tiene todo a favor para dar el salto a la política nacional, observa cómo su perfecta vida se desmorona a partir de unas filtraciones que le implican en una trama de corrupción junto a Paco, uno de sus mejores amigos. Mientras los medios de comunicación empiezan a hacerse eco de las dimensiones del escándalo, el partido cierra filas y únicamente Paco sale indemne. Manuel es expulsado, señalado por la opinión pública y traicionado por los que hasta hace unas horas eran sus amigos. Aunque el partido pretende que cargue con toda la responsabilidad, Manuel no se resigna a caer solo. Con el único apoyo de su mujer y de su hija, y atrapado en una espiral de supervivencia, Manuel se verá obligado a luchar contra una maquinaria de corrupción que lleva años engrasada, y contra un sistema de partidos en el que los reyes caen, pero los reinos continúan. (FILMAFFINITY)


Premios
2018: 7 Premios Goya: incluyendo mejor director, guion y actor. 13 nom.
2018: Festival de San Sebastián: Sección Oficial
2018: Festival Internacional de Toronto TIFF: Sección World Contemporary Cinema
2018: 5 Premios Feroz: incluyendo mejor película, director y actor. 10 nom.
2018: Premios Forqué: Mejor actor (Antonio de la Torre). 2 nominaciones

Críticas
"Sorogoyen cuenta esta abyecta historia con un poderío visual que crea adrenalina en el espectador. La cámara hace prodigios (...) no solo es una muy buena película. También era necesaria."
Carlos Boyero: Diario El País

"Es este juego de espejos entre la realidad y la ficción lo que hace aún más incómoda una película que convierte la incomodidad en un estado del alma (...) Sorogoyen vuelve a lucirse (…) Puntuación: ★★★★ (sobre 5)"
Luis Martínez: Diario El Mundo

"Una película dolorosamente auténtica en todo su metraje (...) Sorogoyen y Peña superan con nota el desafío de retratar, con el machete en una mano y cal viva en la otra, el fenómeno de la corrupción en España"
Daniel Martínez Mantilla: Fotogramas

"Demoledor retrato a lo «Uno de los nuestros» del estiércol moral de la política. (...) Todo es auténtico, real, vivido y tan estimulante como vergonzoso"
Oti Rodríguez Marchante: Diario ABC

"El retrato de la corrupción galopante es incisivo y está pautado con un ritmo vertiginoso, visual y musical, acorde con la agitación de los personajes retratados. (…) Puntuación: ★★★★ (sobre 5)"
Quim Casas: Diario El Periódico

"Sorogoyen vuelve a demostrar su talento (...) El filme está lleno de momentos memorables (...) 'El reino' captura con rabia y talento y lo que los catalanes llamamos 'rauxa' el momento político en el que seguimos inmersos."
Juan Sardá: Diario El Mundo

"Todo lo que se ha escrito y analizado sobre la corrupción en España está en 'El reino'. (...) pocas veces se ha ilustrado con la maestría del brillante Rodrigo Sorogoyen, y un elenco tan potente"
Carlos Loureda: Fotogramas




Whether the corruption in Spanish politics is a question of a few rotten apples or is tantamount to organized crime is part of an ongoing national debate, and The Realm firmly and excitingly, if unsubtly, comes down in favor of the latter option. Part thriller, part moral skewering and sadly part realistic portrayal, Realm is guided by a terrific performance from the reliable Antonio de la Torre at the center of some fine ensemble work. It bowls along at an increasingly urgent, expertly handled pace, sacrificing nuance for impact in a way that feels entirely at one with the crude, morally unshaded world its protagonists have created.

Though it's as Spanish as chorizo, Realm's concerns, at a time of great political distrust, are universal. It’s likely to be automatically dismissed as fodder for Spanish-speaking and a couple of Euro territories, but this may be rather like suggesting that Goodfellas (no comparison of course intended) could only appeal to Italian-Americans. Realm is a fine example of concerned, contemporary cinema that also happens to be a lot of fun to watch; it deserves to be seen by as many people as possible.

We open with an ambitious politico, regional vice-secretary Manuel Lopez Vidal (Antonio de la Torre), on a beach, talking on a cellphone. A tracking shot from behind leads us into a busy restaurant where Manuel’s peers, a scuzzy gang whose seafood (and a great deal besides) are being paid for by the taxpayer’s dollar, are behaving like a group of loud, annoying, slightly feral schoolboys; they will continue to do so, long having outgrown possible redemption. This back-and-forth between the quiet and reflective and the noisy determines the film’s structure.





It is restaurants like this, and their bathrooms, where the political fate of the region (and by implication, the nation) is being decided, with power distributed among men (and women) whose only qualification for the job is the size of their cojones. The dialogue is rapid-fire, the character names escape us at first, and the mood in general is that of a high-speed blur of wheeler-dealing where nobody, including those involved, seems quite sure of where they fit in. The political old school, where corruption is the norm, is represented by regional president Frias (vet Jose Maria Pou), who chooses Manuel as his successor; the new school is embodied by Rodrigo Alvarado (Francisco Reyes), brought in to try and clean things up from the capital, Madrid.

The first arrest, for money laundering, land rezoning and a long etcetera of which they are all guilty, generates unease and the paper shredder is dusted off. It becomes clear that everyone’s worried about one particular scandal breaking, one whose real-world parallel will be clear to Spanish viewers. But as far as Manuel is concerned, the excrement will only really hit the ventilator when a secretly taped conversation of him makes its way onto the national media. Suddenly shunned by his party and former cronies, he decides to take revenge — a process via which the script will have to work hard not to make Manuel, who is no better than anyone else, into a hero.



It doesn’t quite manage it: The final half-hour of Realm may be very exciting indeed, involving high-speed japes on unlit backroads and an on-TV showdown with journalist Amaia (Barbara Lennie), but it's implausible, too, since Manuel seems to have suddenly acquired a previously hidden touch of the stuntman. But the viewer is happy not to ask awkward questions, given the pleasure of being driven through a clever, twisting plot, successfully extended to more than two hours, where the violence is all psychological.

Direct though they are in their storytelling, Sorogoyan’s films have the virtue of confidently going with an idea if he likes it, running with an unexpected, oblique scene if it feels right. One such scene features Manuel and his aging lawyer Fernando (Paco Revilla) visiting a colleague’s house to try and unearth some incriminating papers. When they encounter a drugs-and-drink-fueled party held by the owner’s daughter, the scene becomes a face-off between different generational attitudes toward corruption as well as a piece of tense filmmaking that adds a couple of extra layers to Manuel’s character.


In a similar standout vein, mention should be made also of Realm’s final scene, whose penultimate speech drew a round of applause at the film’s San Sebastian screening — only to have the bravura final speech cleverly undermine that applause.

There’s a surreal, absurd side to all this, of course, that the script does well to countenance: How it is possible that political lives can hang in the balance based on the contents of a pen drive that may or may not be hidden in a shoe? One scene, shot on a balcony supposedly beyond the range of recording devices, allows Cabrera (Luis Zahera) to use comic exaggeration to hilarious effect as on seeing the game’s up, he completely loses it. This is a rare opportunity for a group of middle-aged Spanish actors, often secondaries, to show their chops.


Realm consolidates de la Torre’s reputation as an actor whose presence is practically a quality control stamp on any project he puts his name to. Playing a hatred-haunted, revenge-driven character in a state of controlled delirium, much as he did in 2016’s The Fury of a Patient Man, de la Torre is able to keep Manuel’s weakness (aka humanity) visible throughout, particularly via his clearly very real affection for his wife Ines (Monica Lopez) and daughter Nati (Maria de Nati). In the finest tradition of mafiosos, these guys are, quite sincerely and despite their moral idiocy, family men at heart.

Production values are high, accidentally lending the aura of glamour to fundamentally sordid lives. Visually, the film’s crispness and coastal light often feel interestingly at odds with the shadiness of the action. Much of the tension is the product of sharp scripting and Alberto del Campo’s editing, so it’s a shame that Olivier Arson’s throbbing, rather obvious electropop soundtrack is ladled on so heavily, reliably striking up whenever the viewer’s pulse needs to be set racing.
Source: https://www.hollywoodreporter.com/review/kingdom-review-1146721


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