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Solitary Fragments 2007 123movies

Solitary Fragments 2007 123movies

Jun. 01, 2007135 Min.
Your rating: 0
6 1 vote

Synopsis

#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Through Adela and Antonia’s lives, we have a glimpse of those brief moments of joy and sorrow common to anyone who lives in a big city.
Plot: Life for Adela, a single mom trying to raise her infant son, and Antonia, a widow with three daughters, are forever altered by the terrorist bombing in Madrid.
Smart Tags: #bomb_on_bus #duo_vision #female_nudity #split_screen #sister_sister_relationship #no_music #mother_daughter_relationship #loss_of_mother #loss_of_child #loneliness #iron #female_full_frontal_nudity #broken_arm #bombing #bank #apartment


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Ratings:

Solitary Fragments 2007 123movies 1 Solitary Fragments 2007 123movies 26.8/10 Votes: 1,407
Solitary Fragments 2007 123movies 3 Solitary Fragments 2007 123movies 2N/A
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Solitary Fragments 2007 123movies 7 Solitary Fragments 2007 123movies 25.9 Votes: 17 Popularity: 1.208

Reviews:

Solitary Fragments
The 2004 terrorist attacks against Madrid’s public transport system cost the lives of nearly 200 people and strongly affected the sense of security in the country. Spanish director Jaime Rosales’ second feature film Solitary Fragments examines the effects of a similar kind of attack on several ordinary people living in Madrid. Adela (Sonia Almarcha), a single mother of a baby boy, finds a home as the flatmate of Inés (Miriam Correa), the daughter of Antonia (Petra Martínez), a widowed mother of three adult daughters. The unexpected terrorist strike drastically changes Adela’s life and has an indirect effect on the other characters as well, namely Antonia’s other two daughters Nieves and Helena (Nuria Mencía and María Bazán).

The story in general is very much dependent on the mood as opposed to plot, which is borderline non-existent. The characters’ personalities are revealed indirectly in conversations and long takes of mundane housework, such as ironing or cooking. The focus is on a completely personal level; the turning point of the story is passed very undramatically and the political and societal aspects of the attack are coldly ignored. However, slowly Adele, Antonia and the three sisters start feeling more real and by the quietly hopeful ending they have evolved as human beings.

Rosales is said to have been influenced by the cinema Robert Bresson and Yasujiro Ozu, which becomes immediately evident at the beginning of the film. Long static shots combined with a split screen where the other half may well stay empty of action for quite a while make it seem like Rosales considers any kind of camera movement or cutting between different angles a distraction. He also favours wide panoramic shots over tight close-ups and doesn’t guide the audience’s emotions with any kind of music. The economical, sparsely edited style is also utilized in the numerous conversation scenes where the two halves of the screen can focus on two characters simultaneously, even by having them talk straight to the camera, if not to the audience. For the most part the passive, immobile and distant camera work creates a rather voyeuristic mood, as if the camera doesn’t want to interfere in the action by getting too close to the characters. Nevertheless, looking past the surface, the manner of observing things from far is never out of place and allows room for thought in a different way than more ordinary direction would.

Even though Rosales’ unconventional way of stripping his shots of all distractions is in danger of becoming a distraction itself, his stern vision never allows the style rise over substance. The mise en scène of the split screens and the more traditional compositions are beautiful to watch per se, and the frequent breaking of the 180 degree rule when characters walk from one screen to another fractures the strict realism of traditionally continuous movements. This type of special little touches and the general idea of skipping the expected high points of drama altogether, instead focusing on usually ignored mundane chores, make Solitary Fragments a very interesting experience. Rosales avoids any kind of manipulation and demands a lot of patience from his audience, but those willing to allow images to talk for themselves are in for a treat. The easily bored may want to choose another movie to watch though. Not that there’s anything wrong about that – Solitary Fragments was obviously not made to please everyone.

Review By: random_avenger Rating: 8 Date: 2010-09-25
Scenes from life, a hymn to the quotidian
Rosales chooses to represent the everyday lives of two women in an everyday way. Short scenes, photographed with fixed cameras, sometimes in split screen; a focus on child rearing, an illness, mundane work (a grocery store, an office, a greeter for a convention), ironing clothes, playing cards, chatting about nothing much at dinner, or on a bus. A bus: ah, now there’s some excitement. Young Adela (Sonia Almarcha), whose raising a one-year-old boy by herself and moves to Madrid, is on a bus that’s blown up by a terrorist bomb. The next time we see her, she’s battered-looking, and heads back to the country to see her aging papa. The mother of one of Adela’s nice Madrid flat-mates, Ines (Miriam Correa), is Antonia (Petra Martinez), a widow who runs a grocery store, and the subject of the second story thread. Antonia’s story is more complicated than Adela’s, since she is closely involved also with two other daughters, Nieves (Nuria Mencia) and Helena (Maria Bazan). Nieves has to have an operation for cancer, and the self-centered Helena wants money so she and her husband can buy a second home. Pedro, Adela’s ex, also wants to borrow money from her.

All this information is conveyed in the little vernacular scenes, with static cameras looking past objects, or several shots side by side on-screen showing the same people in a scene from different angles, and no music or much ambient sound–except that the last section is called “Background Noise.”. It’s like looking at a box of snapshots and piecing things together. Needless to say the actors are convincing. It’s they who make this seem like eavesdropping on real conversations.

Money is tight, obviously. No one is doing especially well. The pressures lead Antonia to consider selling her house and moving in with her boyfriend Manolo (Jesus Cracio). Discussions over this cause a lot of tension within the family. Manolo repeatedly tries to calm things down, but without great effect. There are jealousies that must weigh on Antonia, and she is Nieves’ chief support in her illness. Meanwhile Adela has to deal with trauma and loss.

‘Solitary Fragments’ won three Spanish Goyas, including Best Film and Best Director. It’s everyday-ness and its reference to terrorism as a part of common experience may have impressed Spanish audiences especially, together with the dignity and restraint of the film-making technique. Rosales does a good job of balancing non-mainstream methods with humanistic content. Despite the distancing effects of the universally unmoving cameras, the alternating of two almost-unrelated story-lines, and a style that is low keyed to the extreme, one is drawn into the action through the eavesdropping, fly-on-the-wall viewpoint and one’s ordinary curiosity about basic experiences and life choices. If this film doesn’t awaken enthusiasm in everyone, it does command respect, and it builds gradually throughout its whole length with an increasingly profound sense of lives unfolding. The actual Spanish title is ‘La Soledad,’ solitude, and subconsciously one is taught by the visual method, which never cuts back and forth in a conversation, for instance, to see each character as separate, essentially, in life, freestanding and alone.

Review By: Chris Knipp Rating: 9 Date: 2008-04-26

Other Information:

Original Title La soledad
Release Date 2007-06-01
Release Year 2007

Original Language es
Runtime 2 hr 15 min (135 min) (France), 2 hr 8 min (128 min) (Greece)
Budget 0
Revenue 0
Status Released
Rated Not Rated
Genre Drama
Director Jaime Rosales
Writer Jaime Rosales, Enric Rufas
Actors Sonia Almarcha, Petra Martínez, Miriam Correa
Country Spain
Awards 12 wins & 4 nominations
Production Company N/A
Website N/A


Technical Information:

Sound Mix Dolby Digital
Aspect Ratio 2.35 : 1
Camera Arriflex 535B, Cooke S4 Lenses
Laboratory N/A
Film Length 3,600 m (Portugal, 35 mm)
Negative Format 35 mm
Cinematographic Process Super 35
Printed Film Format 35 mm (anamorphic)

Original title La soledad
TMDb Rating 5.9 17 votes

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