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'Our Time': Venice Review

Mexican auteur Carlos Reygadas returns with his first film in six years, a forensic examination of a marriage in crisis in which the director stars alongside his wife and children. Reygadas erupted onto the scene in 2002 with his audacious debut Japon, a meditative depiction of the psychosexual odyssey of a suicidal man. His stature as a consecrated master alone will guarantee some partisan support for this tiresome misstep. The uninitiated will be less forgiving. The movie opens with considerable promise. The loose early scenes weave in and out amongst three distinct groups: the kids, playing in the muddy waters of a lake baked dry around its edges in the long period without rain; the teenagers drinking beers, smoking joints and making out nearby; and the adult rancheros, testing the speed and strength of young bulls. The snorting and grunting of the animals is a constant throughout. And the male-female interaction among the children and teens, even starting playfully with the youngest of them, hints at the spiky sexual politics to come. By contrast, the animals are instinctive, often violent, unimpeded by rational thought, as illustrated by a startling early scene in which a bull gets out of control and gores a mule to death, spilling its innards in graphic detail. Juan and Esther have an understanding that sex outside the marriage is permitted provided there are no secrets. But even before she heads off on a business trip to Mexico City, giving a lift to gringo horse whisperer Phil Phil Burgers , Juan is threatened by the spark between them. In his accompanying press notes, Reygadas claims to be posing questions about the binding nature of love, possession and sexual exclusivity, but nothing goes deep enough to resonate beyond this micro story given unjustified macro treatment. This is not the only point of the movie where the gender dynamics get distinctly queasy. But mostly it all just grows numbing and repetitive. There are occasional moments of invention, like a thrilling timpani performance by renowned percussionist Gabriela Jimenez, accompanied by an orchestra on a powerful piece that seems to speak directly to the turbulent thoughts of Esther in the audience. Naturally, there also are the usual WTF moments that Reygadas aficionados have come to expect, notably during a party where much cocaine and tequila have been consumed, and a gender-nonconforming satanic rocker suddenly appears in elaborate makeup and costume. Their brutality as two of the beasts lock horns in a death battle is distressing.

I am a healthy individual and I have found that a lot of people my age are unfortunately bothered with severe age related illnesses and cannot do a lot of the things that I enjoy doing, yet I keep glad those individuals on my match. Also in Toronto, Busan film festivals. Their search for matches is based on your birthday. Harvard Business School graduate, Mark Brooks, has been an expert in the Internet dating business since 1998. Who knows what else will come from this solo mistake. Even the final shots of bulls in the early morning mist rutting about can be appreciated for their undeniable aesthetic qualities, but then an image of a bull forced off a cliff by an alpha male merely spells out masculine toxicity in yet another tediously obvious way. The limbo early scenes weave in and out amongst three distinct groups: the kids, playing in the muddy waters of a lake baked dry around its edges in the long period without rain; the teenagers drinking beers, smoking joints and making out nearby; and the adult rancheros, testing our time review reygadas social and strength of young bulls. If you don't know Reygadas yet, there is plenty of time to catch up with his before this new one. In his accompanying press notes, Reygadas claims to be posing questions about the binding nature of love, possession and sexual our time review reygadas, but nothing goes resistance enough to resonate beyond this micro story given unjustified macro treatment. The screenplay is also written by Reygadas.