‘Marriage Story’, remake and overwrite lives

Nicole and Charlie compose the incisive and compassionate portrait of a marriage that is broken, its evolution and the vision both joint and particular on how to face the new changes of a family that until now has remained united.

The psychologists and therapists of the couple usually indicate that one of the fundamental moments to measure the mood of those affected in the relationship by a crisis of coexistence occurs when both are asked to write a letter separately about the opposite person. The fact of writing and describing in intimacy the first feelings that usually evolve from fascination, love, concerns, friction, manias and the unbearable pain of being able to continue living together, would give enough clues as to whether these difficulties envision ways to a possible solution or if you see that the obstacles have already marked the final limit. It is one of the most effective methods to share and extract what is left inside, the accumulated that prevents follow,

What apparently begins as a love letter, is¬†a descriptive story about the differences of a couple who looks back to face a new present and a fearsome and devastating uncertain future.¬†This ‘Marriage Story’ presented by Noah Baumbach¬†(‘Mrs. America’, ‘As long as we are young’, ‘Frances Ha’),¬†is completely aseptic.¬†Describe the good and the bad, without taking sides.¬†It is what it is.¬†From the armchair, we can feel perfectly-identified at some point with one of its characters, and we would even like to shout at the screen that solution that could solve the tension that cracks the home.¬†But the luck is already cast.

Scarlett Johansson¬†(‘Jojo Rabbit’, the saga of ‘The Avengers’, ‘Lost in Translation’),¬†and Adam Driver¬†(‘Infiltrated in the KKKlan’, last Star Wars trilogy, ‘Silence’),¬†outline what could be best interpretations of their careers so far.¬†She is an actress and the director of a theatre company, which should not be a great interpretive challenge.¬†The challenge is to develop¬†close characters, as close and natural,¬†as we can appreciate in real life, and take them to the limit,¬†from joy and happiness to the outbreak and collapse, from nostalgia to underground hatred, from a civilized break to expel the monsters that we can carry inside.

Confess and crumble before the camera with a brilliant performance. Magnificent natural reactions, sometimes heartbreaking, with the objective glued and without cutting flat, difficult, very difficult to achieve. Luxury high schools pretending to be wolves on the hunt, to destroy the last sentimental vestiges that have been shared in life in common with Laura Dern, Alan Alda and Ray Liotta. A legal battle, where children Рas always used as currency -, family and friends cannot remain impassive in the face of emotional pain.

‘History of a marriage’ has a solid argument, describes how the evolution of a couple in crisis is and how it affects both them and those around them in their lives, has an excellent direction of actors who go out of their way for their characters in his intense interpretations.¬†It is close, aggressive, tender, and full of those legal absurdities that knock anyone out of the¬†“immeasurable sequels”¬†of a struggle in which you can lose even the little humanity left.¬†A situation that¬†“they will have to solve the two together”¬†regardless of how the battle ends, without it going completely out of hand.

The best: the journey of that sentimental roller coaster so capable of marvelling at precious and intimate moments like overflowing in the hypocrisy of its false and raw games 

The worst: perhaps a long hair in terms of footage, or at least because of so much emotional vertiginously.

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About the Author: Banner Leon

Videogames entered his life in the late '80s, at the time of the first meeting with Super Mario Bros, and even today they make it a permanent part, after almost 30 years. Pros and defects: he manages to finish Super Mario Bros in less than 5 minutes but he has never finished Final Fight with a credit ... he's still trying.

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