REVIEW: In a perfect world, both Penélope Cruz and her curly, red, over-the-top monstrosity of a hairdo would each win respective Oscars for their performances in 'Official Competition.' They're the best comic duo since Cheech and Chong.
a prizewinning novel about two brothers. Never mind that the project is just a rich man’s folly, something that an 80-year-old millionaire decided to do in a bout of post-birthday ennui. She will make this film her own way, i.e. the only way she knows how, a.k.a. chaos and creative anarchy. If any of the actual book happens to make it into what happens in front of her cameras, that’s a bonus.
Piss-takes on the sausage-making process of film productions are nearly as old as film productions themselves, and you could argue that the Argentine directorial duo Gastón Duprat and Mariano Cohn are merely updating this old chestnut for the 21st century, even if they’re mostly sticking to the pre-shoot rehearsal process.
There’s also a dialectic that Duprat and Cohn are embedding in the bickering and eye-rolling between their two actor archetypes about the nature of performing itself: whether ’tis nobler in the mind to suffer the slings and arrows of classical training and spilling your guts for a part, or if hitting your marks and merely saying others’ words as authoritatively as possible gets the same end result.
into her slim-suited pockets and walks away with the film. We take it for granted that she can go full Maria Falconetti for the camera on a regular basis, and think of her as the person you call when you need put-upon mothers or suffering heroines or human crying jags. She is also an absolutely amazing comic actor, however, which this goofy exercise in creatives-behaving-badly is happy to take advantage of.
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