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Yes, now that we have already seen all ' Contagion ' (see below) and ' Burst ' (Wolfgang Petersen, 1995), it has become clear that cinema, as a good brother-in-law, has already said this before. The umpteenth list on the subject wants to review the movies accessible from platforms (or almost) that imagined what it was like to be literally eaten by a pandemic. Of course, we put aside zombies, mutuals, aliens ... (for another).
1. Panic in the streets, by Elia Kazan (1950).
One year before filming ' A Streetcar Named Desire ' (the perfect movie in Woody Allen's opinion) and two years before his deposition (in the most polysemic sense) before the Committee on Anti-American Activities, the great director made one of those 'noir' never sufficiently valued. The police must find the murderer, as always, but for a reason added to the usual and even logical: the body of the dead man had the plague and, everything indicates, that the culprit also. They have 48 hours before the pandemic eats everything. You have heard that Richard Widmark was never better. Well here too. Being, the film is available and at hand.
2. The seventh seal, by Ingmar Bergman (1957).
Bergman himself spoke with disdain of the most cited film since all this began. In reality, the plague in this case is only the backdrop, the sad setting that dwarfs and even ridicules each of the sacred ideals of a knight who returns from war. Death equals everything and, before it, everything that seemed so valuable to us suddenly suffers an inevitable ERTE. Bergman recalled that he once went to visit a friend eaten by cancer. In front of him he reflects and says: "The important thing is to prepare, to shorten the front lines, the battle in any case is lost . " No one is saved, not even the actor Skat who, clinging to the tree of life, demands special rules for comedians. But Death, on his own, applies the saw to the trunk. The film is available on Filmin.
3. Anyway, by Elio Petri (1976).
As in the much more famous and infinitely more quoted ' Death in Venice ' (Luchino Visconti, 1971), the epidemic is only the distant rumor of a decay that can do everything, that rots everything. However, in this adaptation of Leonardo Sciascia's novel what counts, unlike in the transposition of Thomas Mann's text, is not the protagonist's existential journey to his most intimate destruction as the much more pedestrian political game. The film is a metaphor for the Italy of Christian Democracy after the Second World War, but what things, it perfectly illustrates, why not, the misery of much of the political class today. Times change, epidemics are renewed, but there is no way (the title has to do with the expression used by the Jesuits in the spiritual retreat). The noise of ambulance sirens on empty streets is surprising because of its topicality. Within reach on YouTube.
4. Rage, David Cronenberg (1977).
Probably the craziest foray into new meat from the Canadian director. After a crazy cosmetic surgery operation, we see our protagonist (the former porn actress Marilyn Chambers) with a phallus or stinger that comes out of a kind of implanted vagina (as is) and thirsty for blood like never before. Originally, the movie was to be called ' Mosquito '. The result is madness (a lot), but something more. The director's ability to panic, even if it comes from such an extravagant place, into the everyday life of any street or, as soon as one dares to dive in the gore tides, the distorting and distorted portrait of vanity make this kind of continuation of ' They came from within ... ' a beautiful and insane provocation. The rest is plague, bloody pandemic. Definitely, not all infections are stopped by a mask. In Filmin.
5. The Cassandra Bridge, by George Pan Cosmatos (1977).
Within the ' 70s ' aroma catastrophe cinema, this is undoubtedly one of the most thoughtless approaches to the genre. Initially, the cast does not include the actor who never missed the appointment every time a tectonic fault was opened, a skyscraper caught fire or the planes crashed one after another, year after year. We are talking about George Kennedy (yes, OJ Simpson is instead). All things considered, what follows is a stellar cast led by people like Sophia Loren, Burt Lancaster, and Ava Gardner (who would eventually confess - as if not noticeable enough - that she did this just for the money), adorable mock-ups, and an ending plethoric. There are viruses, of course, but what matters, and hence their inclusion in the list, is sacrifice. And here we stop. It is located in Filmin.
6. The Time of the Wolf, by Michael Haneke (2003).
Of all the films pos, ante, bajo, fits ... apocalyptic none as precise as the incursion of the Austrian master in the genre. Its virtue is credibility. Everything is so close, plausible, European (it does not happen in Alabama but here) and real that it is not understood how we were not able to predict this and everything that will come after seeing it. As in John Hillcoat's 'The Road' (2009) on Cormac MCCarthy's bled and perfect text , and, just as in Casey Affleck's 'The Light of My Life ' (2019), ruin has settled in the world without us knowing why. An ecological disaster? An economic cataclysm? A virus? Notice the recurrence of an argument that is repeated with a certainly alarming periodicity. Or just prophetic. The Apocalypse, to return to Haneke, goes inside. And what we have left. You have to search to find each one, but they are there.
7. Blind, by Fernando Meirelles (2008).
Regarding José Saramago's novel " Ensayo de la ceguera" , the Brazilian director supported by a more or less stellar cast (Julianne Moore, Mark Ruffalo, Danny Glover ...) plays the same metaphors as the novel. A strange epidemic has left everyone blind and because of that there is no better blind than he does not want to see, who knows if after the coronavirus passes we will be able to open our eyes. Everything looks no, but Meirelles and Saramago leave it there with their tireless optimism. We are talking, for the very clueless, about politics.
8. Contagion, by Steven Soderbergh (2011).
And we come to the star movie of the season, the must-see to become aware of how far we are, sorry, asshole. Soderbergh, true to himself, offers a brain tour, away from any effect, through each and every one of the possibilities that assist fear. Terror is chewed on each frame as perfectly real. Tomorrow may happen what 'Contagion' announced nine years ago and that tomorrow is today. The director's strategy is none other than turning fiction into study matter; in transforming the story into an entirely dissectable laboratory animal. And this is done with the scalpel in an attack position. It is not about constructing a story, but the exact opposite: abandoning any narrative endeavor, let's say discursive, in favor of what, for lack of better definition, comes to be called reality. The choral cast that goes from Gwyneth Paltrow to Matt Damon passing through Laurence Fishburne, Marillon Cotillard, Jude Law or - it could not be missed - Kate Winslet consequently applies herself carefully to let panic pass through their bodies intact and reach the screen in a chemically pure state. As each of our brothers-in-law would say: I told you. On Filmin, on HBO and anywhere.
9. The bay, by Barry Levinson (2012).
The director of ' Something Happens in Hollywood' refutes his every step in the cinema and dares with a rarity between horror cinema and that other strange genre of found footage. The idea is obviously to insist on something as clear as the greatest of misfortunes is there, at the turn of a tape that someone has left abandoned on the floor. You have to look for this movie, but if they find it, they will realize that if we don't find out it's because we didn't want to.
10. Virus, by Aashiq Abu (2019) and Virus, by Kim Sung-su (2017).
They are two different films and opportunely with the same title. Actually, one is really called ' Virus ', the Indian, which is seen on Amazon Prime, and the other ' The flu ', the Korean, which is seen on Netflix. The first is a calm and precise narration of what happened in Kerala in 2018 when the Nipah virus did its thing. The second is simply to run. Frantic, but not a little.
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