Vicki Maloney is randomly abducted from a suburban street by a disturbed couple. As she observes the dynamic between her captors she quickly realises she must drive a wedge between them if she is to survive.
Outside a mountain town grappling with a series of abductions and murders, Paul (Antonio Banderas), a reclusive writer, struggles to start what he hopes will be a career-saving screenplay. ... See full summary »
Jonathan Rhys Meyers,
Gloria is an out-of-work party girl forced to leave her life in New York City, and move back home. When reports surface that a giant creature is destroying Seoul, she gradually comes to the realization that she is somehow connected to this phenomenon.
The film follows a mountain man on the run from authorities who survives the winter by breaking into empty vacation homes. He's haunted by a recurring dream of being lost at sea and constantly has flashbacks of his former life of a family man.
When a single life is insufficient or when the ways of a single life are too boring.
Among the outstanding features of cinema produced in the late 1990s is the mark of a thriving period in psychologically epitomized films depicted by alter ego figures and "symbologies" or by using borderline, bipolarity, and personality disorders. Not that this was a novelty in film history, but films from that period such as "Fight Club", "Raising Cain", "The Sixth Sense", "The Others" just to name a few films that are still striking in a new direction Which require a specific alignment in all areas (script, lighting, direction, actors, sound, photography, etc.).
Considering the degree of complexity of this style of films, where in the end the public is faced with a multiplicity of personal understandings and constructions, I believe, in the importance of the trajectory we follow, terms or we count on an instrumentation provided by the script, that helps in filling Gaps and even not having the pretension (which is already too pretentious), of not helping in this, giving greater freedom of interpretation or rational disagreement, in years aspects, it is necessary (to have) understanding. What is the point of doing something that does not allow dialogue, which does not want to be understood, even if its understanding is by denying it?
In Buster's Mal Heart movie directed by Sarah Adina Smith, we come across a highly fragmented story, and that needs to be so, because, also fragmentary is also life, or rather the lives of the protagonist of this fable, Buster (Rami Malek) . So we have the approach of a man from the mountains, the hermit; Of a shipwrecked man with analogies to the biblical stories (especially Jonah and the Whale), and Buster, a young father who works at night as a hotel concierge, and in Buster's story, we will have connections to the others Lives and many others that arise during the film, including that of a nameless unknown (DJ Qualls), who appears to be a prophet of the cyber- era and who is so intimately connected to Buster.
Buster's Mal Heart is a film that even seeking to break with the structure of three acts, with linear narrative, even being a mix or copied fragmented lives, does not compromise in anything the construction in search of an understanding by the public, In each fragment or blink of a life, instrumental sum with points that will collaborate in the points of turn, in the Plot twist of the film and the insertion of the life of Buster.
The acting of Rami Malek as Buster is flawless. For fans of this promising award-winning actor in the TV series Mr. Robot, the film also serves as a strong appreciation for Rami's work, as both in the film and in the series we have the similarities of a displaced character from the real world, Personification of an alter-ego and with a thousand conspiracies in the head.
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