Word: mexicans
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Frida Kahlo, the Mexican surrealist-communist painter, lived her life in ghastly pain, the result of a crippling accident. But pain, though knowable, is also indescribable. Alas, Frida is one of those chipper biopics in which the heroine (Salma Hayek) cheerfully endures her suffering while incidentally creating her art and carrying on her endlessly tormented love affair with the muralist Diego Rivera (Alfred Molina). The result is a trivializing movie, especially disappointing because it was directed by Broadway's lionized Julie Taymor (The Lion King). Her first theatrical film, Titus, was distinguished by a bold and visionary sweep. In Frida...
DIED. MANUEL ALVAREZ BRAVO, 100, father of Mexican photography who, along with painters Diego Rivera and Jose Clemente Orozco, helped lead Mexico's cultural renaissance in the early 20th century; in Mexico City...
...years since I've had dinner with my family during the week," says Columbus, who'll serve as executive producer on the next movie. His replacement: Alfonso Cuarón, a surprising choice since his last film was Y tu mamátambién, the racy, critically hailed Mexican road movie about two teenage boys and an older woman in a love triangle. But Cuarón has also had experience adapting the works of some other esteemed British authors - Frances Hodgson Burnett (1995's A Little Princess) and Charles Dickens (1998's Great Expectations). The change in directors...
Watching Frida, the new biopic of the famed Mexican artist Frida Kahlo, it’s difficult to not remember director Julie Taymor’s last effort, the much-lauded big-budget adaptation of Shakespeare’s Titus. That film was notable for, if nothing else, its brash and overwrought self-indulgence; it was a true exercise in almost surreal stylization. It marked Taymor as a new visual force in American cinema and was simultaneously criticized for its over-the-top severity. Strangely enough, the occasionally laughable audacity of Titus is sorely missed in this lush but uninspired...
...time was a lover of Kahlo’s. More time is devoted to his role than Norton’s, surely, but it’s intensely painful seeing Taymor attempting to inflate his appearance by forcing us to watch Trotsky and Kahlo staring at a beautiful Mexican vista, all while listening to Trotsky wax corny Hollywood philosophical, with uplifting music ready to murmur...