Z, la ciudad perdida
The Lost City of Z
The Lost City of Z
Director:
James GrayGuión:
James GrayCámara:
Darius KhondjiMúsica:
Christopher SpelmanReparto:
Charlie Hunnam, Robert Pattinson, Sienna Miller, Tom Holland, Angus Macfadyen, Ian McDiarmid, Edward Ashley, Clive Francis, Aleksandar Jovanovic (más)Streaming (3)
Sinopsis(1)
Tras participar en una expedición topográfica de la Royal Society a Bolivia, el soldado Percy Fawcett (Charlie Hunnam) queda fascinado por la jungla y accede a participar en una expedición más remota, a pesar de alejarle de su mujer, Nina (Sienna Miller), y sus hijos durante varios años. En la selva amazónica, Percy descubre vestigios de antiguas civilizaciones perdidas, y vuelve a Inglaterra convencido de la existencia de una metrópolis hundida, la misteriosa ciudad de Z. Aunque sus argumentos son ridiculizados por la comunidad científica, Fawcett se embarca en un último viaje a la selva brasileña junto con su hijo Jack (Tom Holland) para demostrar sus teorías. (Entertainment One Films Spain)
(más)Reseñas (13)
Por favor, no espere a ningún Indiana Jones. Z, la ciudad perdida no es un entretenimiento de aventuras a gran escala (como la reciente película de Kong), sino un drama casi íntimo sobre un soñador que desea ser un buen esposo y padre, pero más aún, lo impulsa una determinación infinita de descubrir mundos ocultos. Personajes, ambiente, el espíritu de la historia. Sin imágenes digitales molestas, pero tampoco con escenas realmente cautivadoras. Charlie Hunnam actúa bien, Brad Pitt lo maneja aquí como si fuera su sucesor más joven. ¿Pero qué le pasa a Pitt con las Zetas?
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James Gray is a director that doesn't seem to belong in today's world. This is how films were told in the 1950s and 60s, in the era of David Lean's thoughtful big movies, i.e. slowly, deliberately, with an emphasis on character portrayal, with a strong lead (the charismatic Hunnam was an ideal choice). Today's spoiled kids, addicted to Fast and Furious, Marvel and similar crap on steroids, let them go somewhere else, they wouldn’t appreciate this. This favors a strong story, and I like it that way. PS: Charlie Hunnam is a stud. There aren’t many more charismatic actors than him today. I hope that the lack of commercial success of his last two films won’t kill his career with producers.
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Major Fawcett was no Dr. Jones, but it wasn't until the second half that I realized I was watching an unconventional "based on a true story," film because something so old-world, so austere, and yet so nourishing in terms of audience enjoyment would not have been approved by any legitimate producer, even if it cost a mere 30 million. Unfortunately, it didn't make even a third of that, and since Hollywood is ruled by accountants, I'm a little worried about the blue-eyed blond Hunnam, who (in Czech movie theaters) gave two diametrically opposed charismatic performances in the space of a month. It's really too bad because it deserves a stronger audience response if only for the darkened atmosphere, the focused and careful direction, and the very unobtrusive glosses of the period.
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Worse version of The Mountains of the Moon meets a worse version of There Will Be Blood. Which does not mean, however, that in any respect it was a boring or perhaps even a bad movie. On the contrary, this is not so adventurous movie about Conrad's destructive obsession with finding a chimera, and exactly the kind of old-school movie that would fit in a movie theater with the clatter of a classic "obsolete" film tape rather than the air-conditioned silence disturbed by popcorn crunch. The only mistake is that, unlike the best movies in this department, this works a little worse if you already know Fawcett's adventures.
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A journey that does not lead along any seemingly clear paths. It is not a tale of adventure, but neither is it a detailed study of jungle turmoil, fortunately. Fawcett and Costin may have attempted both directions, and yet they are described in a completely different spirit. One where the main focus is on their own determination, the search for a life goal, and not losing sight of that goal no matter the sacrifices. The result is that increasingly rare phenomenon of an honest epic film, which takes as much time as it needs to reach its point. Its only (but easily visible) mistake is that it takes at least half an hour more than necessary to fit everything precisely.
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I admit that I enjoy similar movies to this one. Ones that are elaborate, technically precise with great camera work and soundtrack, and that attempt to convey a message while providing space for the viewer's imagination. The Lost City of Z is a film about human courage, the desire for knowledge, and the obsession to achieve a set goal. It tells a story from a time when explorers had to be adventurers and men, and when it truly mattered to push one's limits and consciously calculate that one might be saying goodbye to loved ones for the last time. In terms of genre, it combines adventure spectacle (without the beloved action and fantasy elements) with the biographical story of Major Fawcett, whose task was to map the region known as the "green hell" in the Amazon basin. A generation later, travelers were already using planes and motorboats, while Percy Fawcett resembled the renowned 19th-century adventurers equipped only with a compass and immeasurable determination to fill the vast blank spaces on the map. I like The Lost City of Z because it is a mature film in every sense, making no concessions to family audiences or teenagers, and not relying on emotions and sentiments. If I had to dwell on something, it would perhaps be the film's idealism of Fawcett's relationship with indigenous cultures, which corresponds to the opinions of modern urban liberals of Euro-American civilization and does not fit into the mindset of the British officers raised with the civilizational superiority of the white man and the elitism of a member of the British Empire at the height of its power. The film also could have been more atmospheric in the Latin American part, with more focus on magical realism elements. There could have been more scenes like the expedition's entrance into the opera straight from the jungle or the hallucinogenic scene of being captured by an indigenous tribe. Nevertheless, I give it an honest 4 stars and an overall impression of 80%.
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An adventure in the most crystalloid form. Mapping areas that civilization has not reached and looking for the legendary city of gold. The effort to adhere to reality at all costs here is amazing. Piranhas, cannibals, remnants of ancient civilizations and the jungle as the enemy and great loves too. The acting can’t be faulted. Hunnam is excellent, clever, and preoccupied leader type, Pattinson in a perfect role of an unshaved orator. The type of movie that resounds inside you and triggers your desire for discovery.
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An old-school tale that often hints at Spielberg's most ambitious works. Slow, consistent, directorially pedantic, with an emphasis on the exceptional atmosphere of the early 20th century and an extremely charismatic protagonist. A message of discovery greater than that of Medicine Man, and visually as brilliant as The New World – which it most resembles. In content, however, those films are incomparable, because Gray sticks to facts and tangibles and Malick plays on feelings, philosophising through the game of image and sound. The Lost City of Z is a slightly more conventional, middle-of-the-road film for people who don't mind lack of action in favour of a dense story, although the pace and rhythm are occasionally problematic. 2 hours 20 minutes is too long for the material and the chosen concept, and in the second half, after all the cards have been revealed, it feels rather monotonous.
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People who compare The Lost City of Z to Indiana Jones and refer to its hero as Indy's predecessor probably lack judgment, insight, or both, and a pinch of common sense. The film, from which I didn't really expect much at first, reminded me of Lawrence of Arabia in the best sense. It's a similarly impressive adventure spectacle, somewhat old-fashioned (sometimes in a meditative style reminiscent of Terrence Malick), superbly written (searching, finding, prejudice...) and also acted. I was particularly surprised by Robert Pattinson, whom I've only seen in a small role in Harry Potter so far, and who definitely has something to say to the film world.
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James Gray is amazing, Charlie Hunnam is awesome, and The Lost City of Z is a magnificent and thoughtful odyssey into the heart of an adventurer who has sacrificed too much for his cause, and it's up to each viewer to judge how adequate and powerful his reward is. With its unspectacular structure and slow pace, it boldly goes against expectations and builds a very intimate experience that either doesn't let you in because of its genre's unruly nature, or completely engulfs you and moves you at the end with a shot that I personally consider one of the best film endings ever. Turn off the lights, keep the ambient noise to a minimum and embark with Fawcett on a journey the likes of which you have probably never taken before. 90%
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This film might have gotten an extra star from me if it weren't so obnoxiously long. I was intrigued by the story overall, but the way it was dragging on made it lose its appeal. It's a shame because it was well shot, and the South American jungle was definitely a good choice of a setting. So, apart from a few illogicalities, it was mainly the unfortunate runtime that I found annoying.
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I guess I really wanted this to be a film in the style of Jules Verne and his stories, but it's much more a film about following your destiny and your dreams. Actually, the message isn't bad at all, but trying to fit it into more than two hours didn't sit well with me. Scorsese attempted something similarly meditative, but better, with Silence.
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The Lost City of Z is unique in its narrative style, as its sweeping form perfectly demonstrates the main character's motivation and, it must be said, powerful obsession. An immense passion for the process of discovery itself can be felt in almost every frame here, and is all the more believable because it is not represented by a desire for money or fame, but just a simple desire for knowledge in the purest sense of the word. The fact that I only fully appreciated The Lost City of Z for the fourth time I saw it proves (at least to me) that this is not exactly typical or even bland Hollywood entertainment. It's actually a very intimate human story about a special kind of obsession that is extremely appealing and actually quite moving, provided the viewer has the right mindset.
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