Director:
Spike LeeCámara:
Chayse IrvinMúsica:
Terence BlanchardReparto:
John David Washington, Adam Driver, Topher Grace, Laura Harrier, Jasper Pääkkönen, Michael Buscemi, Ryan Eggold, Paul Walter Hauser, Corey Hawkins (más)Streaming (4)
Sinopsis(1)
A principios de los años setenta, una época de gran agitación social con la encarnizada lucha por los derechos civiles como telón de fondo, Ron Stallworth (John David Washington) se convierte en el primer detective afroamericano del departamento de policía de Colorado Springs, pero es recibido con escepticismo y hostilidad por los mandos y los agentes. Sin amedrentarse, decide seguir adelante y hacer algo por su comunidad llevando a cabo una misión muy peligrosa: infiltrarse en el Ku Klux Klan y exponerlo ante la ciudad. Haciéndose pasar por un racista extremista, se pone en contacto telefónico con el grupo, que no tarda en invitarle a reunirse con el núcleo. Incluso traba amistad con el Gran Brujo del Klan, David Duke (Topher Grace), que alaba la entrega de Ron por la supremacía de la América blanca. La investigación se hace cada vez más compleja y Flip Zimmerman (Adam Driver), el compañero de Ron, no tiene más remedio que hacerse pasar por él en las reuniones del grupo, consiguiendo obtener información interna sobre un atentado organizado. Stallworth y Zimmerman se unen para derribar a una organización cuyo auténtico objetivo es adaptar su violenta retórica para atraer cada vez a más gente. (Universal Pictures España)
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Reseñas (17)
Un feel good cool civil, con guiños blaxploitation, criticando duramente a Trump. Aborda el racismo, el movimiento negro y el KKK, lo que no gustará a todos. Pero es inteligente, y para Spike, está típicamente dirigida con soltura y precisión, y puede poner a John David Washington en papeles que le conviertan en una nueva estrella negra con los parámetros de Denzel Washington. P.S.: Paul Walter Hauser (el pequeño y gordo «agente secreto» de Yo, Tonya) es increíblemente adecuado para estos palurdos. [Cannes]
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Celkem dost zklamání. Me gustan las películas de Spike Lee, así que esperaba algo realmente bueno, pero me encontré con una película bastante promedio que parece dirigirse hacia algo dramático pero termina siendo ridícula. Sólo siento una sensación amarga y la impresión de que esta película está dentro de las cuotas de los Oscar para los afroamericanos.
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Spike Lee elige una historia interesante, absurda y casi increíble, que adapta con habilidad e inteligencia, como una excelente comedia satírica. Ha elegido el reparto exacto para que la química entre los actores funcione y el espectador se lo pase en grande. Todo ello con un estilo casi tarantiniano. Y justo cuando estás pensando en lo genial que es ver esta película, Spike Lee mete un epílogo documental completamente innecesario en los últimos minutos, que no se corresponde con el estado de ánimo anterior de la película y que parece un intento exagerado del director de expresar sus puntos de vista a toda costa y de forma tan literal que hasta un imbécil lo entendería. Afortunadamente, las sensaciones positivas persisten a pesar de la metedura de pata del final y es, sin duda, un espectáculo de calidad que merece la pena ver. [KVIFF 2018]
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Spike Lee, as an infinite supporter of black acting culture, has his movies often full of minority views, which go right over my European head. So I had to focus on his filmmaking qualities and there are undoubtedly plenty of them. In this movie he even brilliantly balanced white power and black power into one coherent story, which even though it seems absurd, actually really happened. And as I said, it might still be a reality in USA, but to me as a European it sounds unbelievable. Maybe this is the part of the film’s charm. To be honest, in the first 20 minutes he couldn’t resist to include some in my opinion unnecessary black scenes. But after a while you focus on young Washington and Adam Driver’s excellent performances which are in turn absurd, ironically funny but also thrilling and the movie ends with a good political chapter and a brief attack on Trump. Definitively a good movie and one of the most interesting ones on the topic of oppression of black population in the USA.
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Previously it would have been a biographical drama or a heist film, but to express his political viewpoint this time, Spike Lee uses and reworks for his own needs the conventions of cop films about dual identity. The obstacles that the heroes have to overcome in accomplishing their mission come not only from the outside, but also in the form of their colleagues and superiors, who are unable to let go of their own prejudices and represent a system that disadvantages a certain part of the population. The pairing of two disparate characters serves for more than just creating comical situations that bring levity to a serious topic. It is also a condition for the implementation of Stallworth’s bold plan and, at the same time, expression of the film’s central conviction that the path to success is conditioned by cooperation, the struggle for shared values (though each one is completely different, they appear before the KKK members as one person), which can also be understood as a disputation with blaxploitation films, whose style BlacKkKlansman imitates. ___ The two protagonists start to think more about their respective identities following confrontations with white nationalists, who see them, as a black and a Jew, as a threat comparable to the plague and cholera. For example, in reply to the question of whether he is a Jew, Zimmerman initially answers “I don't know”. He later admits that, because of assimilation, he had never thought about his Jewishness, but he is now beginning to reconsider his position. Like his partner, he stops taking his infiltration of the Ku Klux Klan as nothing more than a job, as it becomes a personal matter for him. While Stallworth stops running away from the fact that he is black, Flip begins to proudly defend his Jewishness “thanks” to a group of anti-Semitic imbeciles. ___ Racists legitimise their words and actions by creating artificial enemies and spreading fear of a race war or the Jewish-Bolshevik conspiracy. Their vocabulary plays a fundamental role in this, though it does not have any sort of richness and displays an elementary ignorance of grammar, but it is also expressive enough to elicit strong emotions and attract unthinking crowds. Emotions replace the ability to work with facts and to argue more thoughtfully. One of the bigots reveals the absence of elementary logic in his attitudes when Flip warns him that it is nonsensical to deny the Holocaust, during which several million Jews were murdered and was thus the most amazing event in history from a white Nazi’s perspective. Within the KKK, relationships are established exclusively on the basis of shared hatred. Joining the organisation is conditioned by knowledge of the hate code (various terms of abuse for anyone who is not a white heterosexual American). However, it is necessary to make the language of this closed group widely known, for example with the aid of Hollywood epics such as The Birth of a Nation. ___ The wave of racially motivated violence in the 1970s was a backlash to some of the minor victories achieved by African-Americans in the previous decade. Similarly, the strengthening position of the extreme right in America today, stoked by the statements of the sociopath whom Spike Lee calls the “Orange motherfucker” and “Agent Orange”, can be seen as “retaliation” for the eight years of the Barack Obama administration. Lee’s film is permeated by parallels with current events in the United States and Europe. Even without the shocking postscript, it would be clear that, as in his earlier films, Lee used a historical theme to draw attention to the persistent intolerance of certain social groups. Though the style changes, the essence remains and the world will continue to need many heroes like Ron Stallworth and Heather Heyer. BlacKkKlansman says as much, perhaps without much nuance, but urgently enough to open the eyes of at least a few people who do not yet have totally whitewashed brains. 90%
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