With theaters fighting against the new and very deficient normality, the week repeats the pattern of the previous ones after the end of the quarantine: a Spanish comedy escorted by some of the independent films that were blocked in the dock of confinement and, first symptom of the old order, the terror that returns as a summer menu.

THE FAMILY YOU CHOOSE FROM TYLER NILSON AND MIKE SCHWARTZ

The line that separates simplicity from simplicity is sometimes as thin and invisible as the cable of an antipersonnel mine. One wrong step, one less limb. Let's say debutants Nilson and Schwartz choose to play all the legs they have. That they are not few. The family you choose (free translation of the untranslatable title The peanut butter falcon) tells the story of two losers on the run: a young man punished by the death of his older brother ( Shia LaBeouf ) and another whose condition of Down syndrome condemns in a society proud of its complexes and weaknesses ( Zack Gottsagen ). In between, a Dakota Johnson who, after the premiere ofPersonal assistant , is already the queen of the post-pandemic. What follows is a tale that turns the Florida Keys into a mythical setting very close to the Mississippi of Twain. With precision and good taste , the camera manages to describe the geography of a threatening and yet warm place; a space of discovery through which strange creatures and beasts arise, such as love, fear, lies or treason. The swamps as a frontier of adulthood. The result is an exercise in cinema as tremendously obvious as it is irresistible. And the directors, despite some stumbling, walk out and with all legs.

THE TEACHER OF PIANO, BY JAN OLE GERSTER

The Teutonic fixation, in generic terms, by the piano as an exalted torture rack and a place of maximum frustration is already a tradition. The piano is the most sophisticated, useless and perfect piece of Western culture and, therefore, the perfect metaphor for all its neuroses. In The Pianist , Roman Polanski summarized the horror of the Holocaust; and in The Pianist , Michael Haneke compiled the monstrosities of the highest bourgeois culture. And so. Let's say Jan Ole Gerster complies. The director of the superb debut (also pessimistic to the point) Oh Boy imagines the relationship of an obsessive mother and an insecure son. Among them, the instrument of yore as the scene of an eternal battle. With cruel meticulousness and surgical staging, the film portrays with a clarity that frightens frustration as perhaps the only true state of the soul. It is a reflection on the liberating (and slave) power of art, but it is also on perfection as a disease. It hurts as much as at least a music theory class in August.

DARK MOTHER, DE BRETT AND DREW T. PIERCE

With Blue velvet we learned that you have to be careful when walking through the wealthy neighborhoods. Lest we step on a severed ear. Indeed, any bucolic environment may conceal a secret; a secret secret. The Pierce brothers know this and do not hesitate to place their uninhibited exercise of terror at the very heart of a society of good on vacation and with yachts. Without boasting, without more cinephile appointments than the essential ones and with a slight eighties touch, what emerges is a pleasant entertainment as effective as it is wise. And without ears.

SUPERAKER MAKEY, BY ALFONSO SÁNCHEZ

Yes, it is comedy and it is Spanish, like olives, for example. Sánchez, the man from El mundo es su he, simply lets things roll. With office and, attentively, with means. Suddenly, Leo Harlem closer to Louis de Funès than Eddie Murphy. And then there is Silvia Abril, of course.

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