Today, humanity is divided into two: those who have already seen rough Diamonds , the last, huge and disconcerting work of the Safdie brothers, and those who are about to do so. However, those who really count are neither one nor the other but those who are in the middle, in the land of nothing. That is to say, those who after seeing her still wonder what exactly their eyes have contemplated and those who without having come to see her presume with arrogance their arrogance, let's call it nihilistic. And , indeed, it is there that a film built from absolute denial is installed. Each sequence, provocative and completely hysterical, exists to refute the most obvious and canonical mechanics of staging. And each plane appears surrounded by a stormy cloud of sounds in which ring tones, door bells, free lung synthesizer music, people shouting are superimposed ... It is noise that is coupled, but something else. It is simply non-noise that is the same as the hyperbolic and free movement of the camera than the soundtrack that the leading interpretation animated by an Adam Sandler as far from itself as away from the standardized image of one of the worst-best actors ( with permission from Nicolas Cage) of the story. The fact that it is a movie designed for cinema that can only be seen on TV (Netflix) completes the metaphor and, already on, the great nonsense. There is definitely no way to miss rough diamonds. Although it is not seen. Or even if it looks.

To position himself, and to refresh his memory, the film has a couple of days in the life of Howard Ratner (Sandler), jeweler, Jew and ludopath. The inaugural plan already gives a clue. It begins within the opal (or whatever) that supports the entire plot and ends in the protagonist's colon. What remains, which is everything, is to witness whether the most crazy of bets saves or buries the protagonist. The directors thus play to build one of those non-empty places of meaning whose only reason for being is the transience, its corridor condition by uninhabited force. Like airports, supermarkets or hotel rooms decorated with artistic catalog photos, it is a question of reconstructing the vague and lost memory of a home long ago inhabited in negative, always in negative.

Howard's entire adventure is developed in the Diamond District. The New York neighborhood that like no other, and in the words of the directors themselves, symbolizes capitalism without rules or restrictions, "in its purest form", which, in reality, is nothing more than the most impure way of being in the world. There, thieves, scammers, tourists and advantageists are passing through. Everything flows. Nothing remains It is and disappears.

The film lands on the filmography of the director brothers after Good times (2017), a trip to the bottom of the night with Robert Pattinson inside. There was the style book already. In perfect black. Before, in Heaven knows what (2014), a film that told the story of a heroinomaniac, addiction was the obsessive monothem of a character in search of his complete annihilation, of his no.

The result is a film duly ignored in the Oscars as close to Scorsese (its producer) as to Casavette s and determined to refute each of the common places that configure what we understand precisely by place. It is basically a no-place to be unseen. Unforgettable. Not forgettable.

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