Charlie kauffman he has been a screenwriter for incredible films such as «Magnolia","The Orchid Thief" Y "Eterno resplandor de una mente sin recuerdos«. Impeccable in all its forms, it achieved clean structures in stories that made such cleanliness difficult. But from the hand of great directors, he knew how to generate the necessary times, as well as give the perfect depth to each of the characters.
And last year he debuted as a director of a personal script, of which I already made a review here a while ago, called «Synechdoque New York«. Film from which, I admit, I really expected a lot. And without a doubt, he managed to satisfy every expectation in me, reaching the coveted title of sublime. It is not easy to convince the reader that a film has true poetic value, as well as narrative and cinematographic. Well, in this case you must blindly trust my word. And it is that the exploitation of the preciousness of the metaphor on the screen, plus the depth of sadly lonely characters, sadly resigned in an idealism that escapes from the essential. And only him, a protagonist played by Philip Seymour HoffmanIt is he who is really living and dying in a consideration of sight, of what is seen and of the vision received, which is lost in the very contradiction that fear infers in being.
But poetry does not know the barriers of panic, and even in an essential tear it is that it floods the being with the simplification of the universal, which goes hand in hand with the limited. Because this material land is forced to cling to the cut, to the momentary, to the very becoming of a time that is killing us, little by little, or very quickly.
All this runs through the film, life and death, art and death, love and death, and loneliness and loneliness, and then death. In a perhaps intended delicacy is that I list the films that are part of my top ten. Well, this enters the list, very close to the top positions. Because today there is no film that strips both time, and the human, as Charlie Kauffman has done.