Blonde

Estoy indeciso si esa película fue tan buena o tan mala. Lo que no tengo que pensar en absoluto es la actuación de Ana de Armas. Por eso no me sorprende que la película haya recibido nominaciones a los Razzies y Ana una nominación al Oscar. Esto solo subraya la contradicción general y la polarización. Al final, probablemente me inclinaré hacia una percepción positiva de toda la película, aunque sea rodada de manera muy no convencional pero ejecutada con precisión con un componente musical muy bien elegido, firmado por el mago Nick Cave. Estoy seguro de que Ana un día será galardonada por el Oscar... (04.06.2023)

Una película emocional para la tele. Un mosaico de las «experiencias» de una niña atormentada que busca su propia identidad y su lugar en el mundo. Atmosféricamente absorbente, pero innecesariamente largo para lo poco informativo que es. La constante alternancia ilógica de formatos de imagen y escenas en color con otras en blanco y negro corresponde a la confusa psique del protagonista. Un truco sencillo pero novedoso y que funciona bastante bien. Ana de Armas excelente, rendida y sentida. Es casi una pena tanto esfuerzo para una película que un público más amplio no sepa apreciar. Andrew Dominik tiene algo a su favor como artista, pero NO es Terrence Malick. (29.09.2022)

Casi tres horas de "porno de miseria" de apariencia de un programa de tele, que mata con su monotonía de estado de ánimo y visual después de los primeros 45 minutos. Ana de Armas ofrece una actuación entregada y envolvente, pero me gustaría verla en una película concebida de otra manera. Algunas escenas (especialmente las que involucraron al embrión) claramente cruzaron la línea del chantaje emocional cursi. (20.12.2023)

Blonde is an exceptional work for the same reasons many people hate it: its fragmentation, the excessive length of many scenes, the focus on the surface, the inconstant visual identity, the building of pressure without catharsis, it’s not an empathetic biopic but a pessimistic collection of horrors with a dissociated protagonist who wanders through her own subconscious – the whole film can be seen as her nightmare (also, the Badalamenti-esque soundtrack by Nick Cave and Warren Ellis is reminiscent of Lynch, who had prepared and ultimately shelved a film about Marilyn Monroe in the 1980s). The breaking down and decontextualisation of the myth and iconography of Marilyn Monroe work better in images than in Joyce Carol Oates’s graphomaniacal book on which the film is based (though the film uses the book’s narrative and storyline relatively consistently, its nihilism is closer to Ballard or Palahniuk). I understand that sexual violence, nervous breakdowns and ideas outside the boundaries of taste (a foetus talking to its mother) may be too much for some. I understand that not everyone will accept the concept of a film in which beauty is almost always associated with pain and sex with humiliation, a film that places the viewer in the extremely uncomfortable position of voyeuristic accomplice. However, I would expect critics to at least have the ability to distinguish between a real historical figure and a textual construct that serves a certain narrative or symbolic purpose, or rather between a misogynistic film and a film about misogyny (and the cruelty of the looks that strip a person of their identity and turns one into a projection screen for someone else’s fantasies). 90% (04.10.2022)

I'm not going to sugarcoat it or try to find reasons to like this film even a little. Blonde is an art house nightmare. Sure, Ana de Armas goes all in with her performance, especially in those intense, nerve-racking scenes. I believe her effort, but the lack of logic and coherence is just too much for me. Based on an unauthorized biography, the film blurs the line between truth and fiction. Marilyn Monroe is portrayed as a tragic figure who endured all the worst Hollywood had to offer. It's often unbearable, which is probably the film's only strong suit — it's genuinely uncomfortable and emotionally taxing to watch. This reminds me of films by Gaspar Noé, but unlike Blonde, his films keep me intrigued about what's coming next because they feel more believable. Here, I just didn't care. The unbearable length made me feel like I was barely surviving through it. (30.01.2023)