No te preocupes querida

No me leí el contenido, pero de alguna manera sabía de antemano que no sería una dulce comedia romántica. Y después de diez minutos, estaba claro que se trataba de otra variación de las Esposas de Stepford, que no funcionaron cinematográficamente al menos una vez a pesar de un elenco muy bueno. Y la verdad es que yo ni sé si realmente quería ver esa variación. La viveza de los colores, la atmósfera, la representación del mundo idílico fueron excelentes, también hubo una escalada de tensión, pero el final me decepcionó bastante. Probablemente solo pensaré en por qué todos alaban a Florence Pugh, ¿es realmente tan hermosa y talentosa? Probablemente su prueba de fuego sea la princesa Rapunzel. (07.09.2023)

Superficial, estúpida e increíblemente aburrida variación de Las esposas de Stepford. La duración de dos horas es realmente tediosa dada la vacuidad de toda la historia. Además, la película es atractiva, artificial y superficial al igual que el mundo que intenta describir satíricamente. La alta calificación realmente me choca. (11.02.2024)

Femme matrix de color pastel. Menos mal que el póster invita a un dulce romance con Harry Styles. Las sorprendidas espectadoras obtienen una metáfora de suspense más sofisticada sobre la eterna insatisfacción interior y la utópica ilusión de la «vida perfecta». Para ser el segundo trabajo como directora de quien originalmente era actriz, se trata de una obra muy ambiciosa, que se apoya en los ases del equipo (director de fotografía, montador, compositor). Florence Pugh encabeza el reparto, Styles lidera románticamente y es muy fácil de ver. El remate en sí no es original, de hecho ni siquiera es apropiado. Y en la parte final cuando gradúa, todo se desmorona en el contexto y la experiencia emocional. (29.09.2022)

Don’t Worry Darling has been written about mostly in the context of major and minor on-set scandals lately, which is a bit of a shame that Olivia Wilde's new film doesn't deserve. She changed the genre dramatically after the fairly clever comedy drama Booksmart, and her new film certainly manages to impress. Matthew Libatique knows how to evoke the atmosphere of the 1950s as they may never have been, but as people want to see it through the filter of nostalgia. John Powell, on the other hand, has done one of his best soundtracks ever, and visually and musically there is nothing to fault the film. It manages to be mesmerising and then again a few seconds later very disturbing. Florence Pugh is excellent in the lead role, as is Chris Pine; in fact everyone here tries their best in front and behind the camera. It's just that they are being tripped up by the story, which, while not bad at all, unfortunately, as the runtime progresses, it becomes clear that Wilde doesn't have a new The Truman Show, Dark City, Inception or The Matrix in her hands, but just solid and functional material from which she can squeeze a technically brilliant film, but one that lacks emotion, surprise or any worthwhile message, especially at the end. The result is good, though exceptional, but I will certainly be happy if Olivia Wilde continues her directorial career. (20.09.2022)

As a mystery thriller one-shot from The Twilight Zone, totally fine. It's beautiful to look at, great craftsmanship, and I have a soft spot for Florence Pugh, she improves the rating of every film by at least one star. On the other hand, if their ambitions were higher, well we can’t speak of a success. The concept is fine and could have been the basis for a more substantial piece of filmmaking, but it would have needed from sharper edges and a more focused script (actually, it's a terribly perverse outcome, but Wilde and the writers failed to fully capitalize on its power). The handling of the reveal of the twist seems a bit shallow, and if you start digging into the individual scenes, you'll find that they may not even make much sense in the end – I really don’t understand what the plane wreck was doing there. 7/10 (03.10.2022)