O body of the beast

Since his passing in 1984, Sam Peckinpah has resided in the realm of the seventh art for the well-deserved honor of being laughed at in slow motion. I see, I fixed other things worthy of Bitola, but the aesthetics of the reception desk is the most capricious thing that exists. In 1971, a resident set in the population of the Atlantic and the Finisterre Peninsula in Cornwall, two of his most memorable films, canes de palla [Straw dogs], not that the refined professor and his beautiful lady are on fire to ignite our insane, calculatedly brutal fireworks display, a violent light of baser urges ending in a climax of blood and revenge. In my opinion, Peckinpah’s violence was, if you understand me, a bit “in Technicolor”, commercial and fake, a malia that was brilliantly interpreted. Aggressive pailáns yes movie From Cornwall they were as good as they could have been from Motilleja, province of Albacete, because they turned out some bad movie moi, archetypal, wrapped in cellophane, without much introspection and perspective.

More modern, or cinematography looks at violence, that magma of black evil that lives in us otherwise suppressed, with strange consequences, because the world has evolved a lot since the time of Don Samuel Americano. Now the Atlantic finisterre is a background image where homes and women feel that their own environment, wet forests or windy winter and atavistic nature that affects them, like meigall or ears of fate, not that they are and not that fan e, above all, not haters.

Nine Goyas for like beasts by Rodrigo Sorogoyen and twelve Mestre Mateo for or open body de Ángeles Huerta consecrate Galicia to the diabolical altar of fear, anxiety and the fatal plan of death. In the eastern mountains and in the remote village of Lobosandaus (there is no comparable place name in the country) dwells, continues to inhabit, a monster, larvae, with the mythological face of Romasanta, clinging, like a carrachos, to stop a dog under a tree.