Vienna Hotel Director fades

The latest movie “The Soufler” is, like his previous work, resources and mercury. There is a direct conspiracy here (the hotel manager learns the place of employment soon), but the Argentine director uses this story of the threads for a wider contemplation of a changing world. Through short articles around them and about its aforementioned hotel and its employees, the cooperation between Solnicki and Willem Dafoe – a dark black comedy, impressionist in style and counter -material – is complete joy.

When Lucius (William Davu) learns that the Intercontinental Hotel in Vienna, which was running it decades ago, was sold to Argentine (playing Solicini) and will be re -developed soon, was astonished, beaten, and more, thinking about it, maybe Melcholi. It is deeply understood that the losing the bright building if it runs is one of the symptoms of something bigger. The hotel – as a code of the city, a country, or a continent – even – risk controlling forgetfulness. No more guests ski in the nearby ski circuit. No more distinctive cocktails serve in their luxurious bar. No more Soufflés makes her way to these white tables in her restaurant.

Then again, if the Soufflés that comes out of the kitchen is any indicator, the Vienna Intercontinental must have already its days. Caspian for declining hotel decades of this size, the dish is poetic and poetic. The same applies to excerpts from the routine Solnicki samples. Although Lucius from Dafoe ends up launching some comic war against the aforementioned foreign developer, “The Souffleur” (participated in his book with Julia Niman) who is not really concerned with conspiracy and story issues. This is an interested film instead of the details that embody the loss and the unit does not seem to have escaped.

Portuguese film photographer Roy Bosas – who formed different films such as “Grand Tour”, “Franki”, “Zama” and “The World of Birds” – It creates deleted images of the characters that were placed against and expanded horizons. Poças encourages his strong eye on DAFOE and The Intercontinental Hotel with tires still studied, and the fans encourage the estimate of the spaces that Lucius inhabits, whether it sprinkles the water over the ski circuit, and sits alone in the prepared restaurant to an ideal place or playing a chess game with his daughter (Lily Sen) on the surface. When the movie reveals, Lucius slowly begins to lose anywhere he had in a hotel that appears to be in a state of chaos faster, which can make an argument for his historical value (not to mention).

But while such a description will indicate that the last Solnicki movie is a weak project on fading glory and violence of global capitalist modernity, it sells “Souffleur” short-mostly because it is with DAFOE on its head, the Vienna project that has been appointed has a hidden feeling all the time. The diabolical features of the Hollywood actor and the unambiguous cracking sound make a perfect pair with sarcastic Solnicki sensitivity. As far as Wes Anderson and Urgos Lanthmos collected Davo’s delicious feeling of humor in the pieces roaming between the real and Aludi line, Solicini realizes that the strong performance of Davu should always swing between the two. Thus, while Lucius holds on his shoulders the responsibility of standing in the face of Solnicki’s Facundo, he is also a character that makes his annoying personality completely enjoyable to watch (listen) all the time. The late scene is completely happy to fill electricity and lighting in the hotel, and it is one example of the joyful joy of this, which makes this wandering hotel manager without making him a models.

Davo, who was wandering around the Argentine director for some time, was clearly enjoying the opportunity to make this cooperation fruitful. Their scenes together, as Lucius and Facundo failed to talk to each other (because the first does not speak Spanish and the latter does not know which English) are some of the funniest movie. It is proven that the two have accomplished a rare type of alchemy here, as they speak through cultures and languages ​​to create a more unique personal study whenever it moves away from language and story.

“Souffleur” reflects Solnicki in its most accomplished. This is a film that also creates a voice of filmmaking, unlike any other voice. “I don’t like the system; I don’t like the turmoil,” Lucius says during a numerous audio box in the movie. “I love a mixture of the two.” Perhaps a Solician approach.

The short articles that make up the film simultaneously are organized in the form of a scene and improvisation in the soul. There is an instinctive sewing that connects many of its scenes together that builds to a cuturated end, and its climax in Ayram or noise but sighs welcoming. Solnicki has created a kind of simple and spoiled films that, such as the smile of the pioneering actor, is the joyful and destructive of equality.