The Fabelmans
Director:
Steven SpielbergCámara:
Janusz KaminskiMúsica:
John WilliamsReparto:
Gabriel LaBelle, Michelle Williams, Paul Dano, Seth Rogen, Mateo Zoryon Francis-DeFord, Keeley Karsten, Alina Brace, Julia Butters, Birdie Borria (más)Streaming (3)
Sinopsis(1)
En Los Fabelman, un retrato profundamente personal sobre la infancia de un muchacho estadounidense en el siglo XX, Steven Spielberg nos brinda el recuerdo cinematográfico de las fuerzas y la familia que dieron forma a su propia vida y su carrera. A través de una historia universal de madurez sobre un joven solitario que persiguió sus sueños, la película explora el amor, la ambición artística, los sacrificios y los momentos de descubrimiento que nos permiten vislumbrar la verdad sobre nosotros mismos y nuestros padres con claridad y compasión. Sammy Fabelman (Gabriel LaBelle) vive entregado al cine, un interés aplaudido y fomentado por su artística madre, Mitzi (Michelle Williams). Su padre, Burt (Paul Dano), un prestigioso científico, apoya el trabajo de Sammy, pero lo considera una mera afición. A lo largo de los años, Sammy se convierte en un auténtico documentalista de las aventuras de su familia, así como en el director de unas producciones cinematográficas amateur cada vez más elaboradas, protagonizadas por sus hermanas y amigos. Ya con 16 años, Sammy es el principal observador y archivista de la historia de su gente, pero cuando su familia se muda al oeste, descubre una descorazonadora verdad sobre su madre que redefinirá la relación entre ambos y cambiará tanto su futuro como el de todo su núcleo familiar. (Universal Pictures España)
(más)Reseñas (9)
No es casualidad que una película tan hermosa sobre la gente y el mundo del cine sea la confesión autobiográfica del autor de las piezas cinematográficas más sentidas. El círculo se está cerrando, la fragilidad única de la icónica forma cinematográfica de Spielberg + Kamiński + Williams se fusiona con el contenido como nunca antes. Es aquí adonde todo se dirigía. ___ Los Fabelman es el drama familiar contado de la manera más completa que he visto. Y aunque no hay ningún evento trágico en él, para mí personalmente, es el drama familiar más conmovedor. Sintiendo los acontecimientos vitales de la infancia y la juventud en los detalles más pequeños, pero al mismo tiempo más fundamentales, plasmados en una narrativa fílmica adecuadamente sensible y quirúrgicamente precisa. Un mosaico de fragmentos que forman la personalidad de una persona que, a través del dolor y la alegría, se fusionó con la cámara de cine. Y ella misma le reveló el comienzo de la mayor decepción (familiar) de su adolescencia y lo ayudó a resolver con elegancia un problema de acoso escolar. Y el hecho de que luego entrara con su cámara en la historia artística y social del mundo, eso ya es otra historia. ___ La dimensión cinéfila de Los Fabelman es un plus a la narrativa de valores familiares que siempre ha sido el alfa y omega de su obra. Solo que aquí lo convirtió en parte clave de la historia, y más hermoso de lo que hubiéramos podido desear. La sorpresa del reparto en el epílogo y el último plano de la película me pusieron de rodillas. Me devolvieron a donde temía que el cine contemporáneo nunca me devolviera. Steven forever ❤️
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Sammy Fabelman loves cinema. Together with his friends and family he makes small amateur films and dreams of becoming a director. But then, through his hobby, he uncovers a nasty secret from his loved ones that makes him rethink everything he's ever known. Steven Spielberg delivers a semi-autobiographical story that is moving, funny and above all believable. And while it's also nostalgic and melancholy, it never feels cloying. An honest and audience-friendly drama from a storyteller who understands his job damn well.
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The Fabelmans is masterfully shot story of film and family that alternates between moments of extraordinary feeling, in which Spielberg manages to depict big things on an intimate scale, and a slightly banal compilation of familiar motifs and tried-and-true pearls of wisdom. I was moved by the film a few times, particularly the moments involving the magnificent duo of Dano and Williams, and when the boyish enthusiasm of amateur films is presented in such a way that it evokes in viewers the feeling that they are watching something almost miraculous. The Fabelmans portrays the medium of film as a double-edged sword that is capable of both healing and ruthlessly inflicting wounds. The film contains a touch of slight yet aching melancholy that doesn’t come across as mushy; Spielberg is still surehanded in that respect. Despite that, however, there is something banally transitory and too comfortable in all of these nice images, as the anecdotal ending demonstrates. The strongest impression is thus left by the relationship between Sam and his parents, which mirrors the pain and loneliness of Spielberg’s child characters. I feel great respect and mild emotion for this film, but unfortunately also doubt as to whether it will actually leave me with more than a fleeting sense of enchantment.
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Grand shots of intimate life struggles and little scenes in which the most important things happen. Steven Spielberg has perhaps never built his classic family backdrops so high, illuminated with all manner of imaginary spotlights, and focused his attention solely on them. What's more, Janusz Kamiński's playful camera loves the landscape, architecture, and people so sincerely that The Fabelmans speaks to me in a much more optimistic language than you would expect from the story and some of its twists.
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An exquisite reminiscence of the childhood and adolescence of an ordinary middle-class family. Spielberg manages to conjure up smiles and tears, joy and sadness with an ease all his own, reminiscing a little of his childhood years when his enthusiasm for moving pictures seemed to be his everything, despite his family's complicated relationship. There's a bit of a problem with pacing and overlong running time, but that's all due to the consistent storytelling and coloring of the characters. The last scene is the best.
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Full Steven Spielberg. Without metaphor for the first time, he looks back on his childhood, on the family background that shaped him and (thankfully) gave him to us. Not that the proverbial perfectionist didn't pay attention to his previous films, but this time it's a truly admirable piece of watchmaking that may not even look like it. Spielberg firstly conveys the viewer's fascination with cinema, wrapping them around his finger with his boyish excitement of a train wreck reenactment, and then making them an invisible member of the family, letting them experience everything he himself has experienced with the characters. And he does it so naturally, confidently and beautifully that it's clear why he made the film. Had someone else been behind the camera, The Fabelmans would have been either a cheesy ode to the best director of all time or a cold family drama that would have been hard to watch. But to find a balance between these two extremes, none other than Steven Spielberg could have done it. PS: And the actors!
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I managed to watch The Fabelmans twice over the weekend and the second time in particular I experienced feelings I no longer associate with modern films. This two-and-a-half-hour chronicle of a famous filmmaker's difficult formative childhood in a crumbling family is the most beautiful film I've seen in a long time, and it offers narrative techniques so subtle and yet often utterly unobtrusive that a generation of young directors could learn again in the cinema. The story of an aspiring filmmaker and a bitter divorce is based on the alternation of artistic and rational perspectives. The camera reveals things to the protagonist that the human eye never sees in real life (including his mother's infidelity in the background of the action), and the photographic form of the footage, which can be manipulated in various ways in the editing room, makes the films the most reliable source of existence, something that you can control and can give authorial forms of representation. In the end, Sammy, distressed by his family situation, uses this to glorify the school bully in a school video, thus bringing his rival to his knees – realizing that he will never look as good in real life as he does in the film. Life can be grey and Spielberg knew the bitterness of anti-Semitism, bullying, failure with girls and, most importantly, the divorce of his parents, only one of whom supported his passion for movies. The Fabelmans represent two worldviews that must intertwine, but the more painful one must never suffocate what fulfills us most and what we aspire to. It is an emotional and psychologically detailed family study in which cinema serves not just to escape, but to clarify and filter emotions. Most of Spielberg's films about the complexity of an incomplete family have managed to suck us in, but The Fabelmans is a film through which we can inhale and, despite the sad passages, absorb the joy of the narrative and its impulses. After the second screening, I curled up on the bus for half an hour, put the John Williams soundtrack on my headphones, and let myself be swept away by what Sammy's story revealed. I too can try to be an extrovert and clamor for someone's attention, but I know in my soul that I embrace my introvert bubble and get lost in movies where I don't have to deal with interpersonal relationships, where I don't quite excel at. And what brings me joy is being able to analyse the work with space, the movement of the camera and the positioning of the characters around the set, which in The Fabelmans is again beautiful and original. Steven Spielberg has made an amazing film that spoke to me in every scene and I can say that it opened my eyes again. If you've yet to see a single film this year (so far), make sure it's this one, Avatar is going to have to try hard.
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Steven Spielberg vuelve a lo que mejor sabe hacer: un drama familiar contado con sensibilidad y basado en los personajes, sobre la magia de descubrir algo mágico, personificado aquí por la cinematografía misma. Esta película de dos horas y media es casi perfectamente cautivadora y absorbente, pero hay dos decisiones creativas que no me entran en la cabeza. Por un lado, no sé por qué el actor principal tuvo que usar lentes de contacto oscuros durante toda la película, lo que hizo que sus ojos parecieran tan muertos como los del tiburón en Tiburón. Para mí, eso saboteó una actuación por lo demás muy prometedora del joven Gabriel LaBelle. Y luego la idea (spoiler) de que un gilipollas chulo, acusador y antisemita, por la magia del medio cinematográfico, iría hacia su víctima y no solo se disculparía, sino que tendría un colapso emocional por su propio vacío, este año no he visto en el cine algo tan ingenuo y estúpido. Estas dos cosas son aún más molestas porque podrían haberse evitado fácilmente. Sin embargo, a pesar de estos comentarios, estoy satisfecho, y especialmente viendo las escenas cortas donde se le da espacio y papeles excelentemente escritos a los veteranos Judd Hirsch y David Lynch, yo tenía una sonrisa de satisfacción en mi rostro.
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Those who love filmmaking will love The Fabelmans. Spielberg is still in superb form, and it's hardly a surprise that if anyone should tell his life story, it can only be him. A beautiful, sensitive, witty, and moving film that is undoubtedly one of the best of the year. When Spielberg retires, anyone watching this film (remembering all his blockbusters) will be able to tell that it was all worth it.
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