Director:
Justin KurzelCámara:
Adam ArkapawMúsica:
Jed KurzelReparto:
Michael Fassbender, Marion Cotillard, Paddy Considine, Sean Harris, Jack Reynor, Elizabeth Debicki, David Thewlis, Ross Anderson, David Hayman (más)Streaming (4)
Sinopsis(1)
Nueva versión de la adaptación de la novela homónima de Shakespeare ambientada en la Escocia del siglo XI en la que el protagonista no se dentendrá ante nada ni nadie con tal de convertirse en rey. Dirigida por Justin Kurzel y protagonizada por Michael Fassbender y Marion Cotillard, las tres hechiceras Fatídica lanza un conjuro en el que predicen que el barón de Glamis, Macbeth, se convertirá en barón de Cawdor y, después, en rey de Escocia. La primera premonición no tarda en cumplirse y tras ser elegido como barón de Cawdor empieza a ambicionar el trono de Escocia. Su mujer, que anhela más que su propio marido el poder, instiga en asesinar al rey Duncan de Escocia para alzarse con el trono y así cumplir esa profecía que lanzaron el trío de brujas. Un movimiento que hará que las traiciones y el rencor provocarán un resultado realmente trágico (A Contracorriente Films)
(más)Videos (11)
Reseñas (10)
Sociopaths of the verbal type (the multiple species among us) won't appreciate this film, of course; it is only for sensitive people able to cherish the celluloid language called film that takes you back to a time when stories where still told with pictures without making artistic compromises. Here, the trump card is the modest production design. It’s not about large crowds and lavish sets, but about compositions and atmosphere. In that respect, I particularly enjoyed the first half fantastically, up to the point where Macbeth is made king. The visual aspect is so unique that it doesn't really matter if the source material was written by Shakespeare or another theatrical titan. I'm genuinely curious about Assassins Creed now, because Kurzel's cinematic language is completely incompatible with the game poetics of an assassin running on rooftops and jumping into haystacks.
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Truly the suffering and martyrdom of Shakespeare! Terribly dull visuals (more fog please!), uninterestingly flat characters, terrible dialogue, no pace, no action, no blood, no finale. Fassbender, I hope you'll do more mowing than muttering in Assassin’s Creed!! I'm surprised I didn't die. 15%
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A completely honest artistic ego-stroking affair that benefits from the great camera and focuses predominantly on silence. On top of that, the movie, with its look and approach to storytelling, reminded me of Valhalla Rising, which also pretends to be this epic, but in reality, you are just watching an overdressed nothing. On the other hand, I get that the creators set out to do a very unusual form of Macbeth. They wanted to be different and so they added an artistic cinematic touch to the classic Shakespearean ornate speech, which didn’t really sit well with me. I don’t know, if a specific number of falling-asleep scenes is the proof of quality art, but I feel that the more there are, the better it is for the fans. It is, indisputably, interesting, but I prefer more classic motives with historic dramas.
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The archaism of spoken language as a counterpoint to the language of film. Both Shakespeare and Kurzel tell their own stories, but they fit together like few others. If I hadn’t known "Macbeth" from school, the protagonists would have talked a hole into my head. However, you can take Arkapaw's images anywhere, print them on a large format and hang them in galleries.
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Even in Macbeth, Justin Kurzel can indulge in what fascinated him in Snowtown - a moral vacuum that arises around extremely ambivalent characters, torn apart by violence and manipulation. Of course, in collaboration with Adam Arkapaw, he powerfully uses the rugged Scottish landscape as a mirror of the inhospitable interior of the two main actors, who (filmed mainly in relentless detail) form the magnetizing center of the adaptation. The Macbeth couple and their gradual decline into madness usurps almost all of the space, and if the actor doesn't have the talent to play in a small area with a fascinating intensity like Sean Harris, he's out of luck. It's not a bad thing, because Fassbender and Cotillard act with an intensity that easily withstands the uncompromising choice of detail and faithfulness to the original’s language, although the strongest moment is when Macbeth sheds a “tear of madness" in the middle of a wordless scene. Kurzel chooses a gloomy, very slow tempo, which in the middle finds itself in the stereotypical arrangements of monologues / protagonist dialogues (an obvious screenplay defect), but for most of the rest of the runtime, it is only thanks to the fascinating interplay of Arkapaw's eye and the ears of Justin's brother-composer Jed that the film holds a very intense charge. The battle scenes are on the verge of Refnov mannerism, but for me they fit into the overall tone of "naturalistic lyricism". Yes, Branagh's blasé attitude breaks under the dictates of darkness, and even the BBC cycle The Crown feels airy compared to Kurzel's adaptation. In some ways, Macbeth is very close to the controversial but captivating adaptation of Andrey Arnold's Wuthering Heights. He also seeks in the classics the forgotten taste of blood, the smell of sweat and the slime of mud. And he won me over. [80%]
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