Movie theater

Corpus Christi

4

• Genre:

  Drama

The polysemy of the word host is there to disconcert.

A host is as much the thin wafer of unleavened bread only suitable to consecrate before communion that what is offered in sacrifice that, simply, a good host.

That is, a slap.

What amazes us is "the host" and whoever looks bad slobber or grim intention is also guessed "a terrible host."

Shit!

, by the Polish

, is, in addition to

The story is told, distantly based on a true event, of a juvenile delinquent who, due to chances of grief and pain,

nor could it be in a small town that, suddenly, discovers in this false and peculiar priest the only possible relief.

And understandable.

And suddenly, the host that you happen to see is as sacred in its forms as it is violent, pagan and clear in its attitude.

Pure polysemy.

Lit by a rare, almost mystical hyper-realism (all the characters sport blue eyes) and a dazzling gray photograph (notable for the work of

), the film does not hesitate to descend into the most obvious of the mud to teach us the true meaning of the sacred.

The one that is announced as the

wants to be the slow narrative of what is no longer a mistake, a confusion, a simple trompe l'oeil.

gives life to a fugitive from a reformatory who, in his years of seclusion, discovered in the mass ceremony something more than just a way to comfort: it was also a perfect hiding place.

One fine day, chance leads him to a small village devastated by mourning.

An allegedly drunk driver killed many of the youth in the area.

What follows is a representation of a lie, but very true.

Away from the director any hint of peace, tranquility or simple comfort.

The clarity of confusion presides over everything to a model end in its vocation of pious sacrilege

The strategy of the intelligent Komasa is not without a bad host.

The director wants to investigate this strange process of transubstantiation by which the possibility of the eternal calms the evidence of the futile, of what disappears.

;

by which the liturgy that configures religion ends up becoming the only possibility to heal.

How is it possible that the greatest of lies (a murderer dressed as a holy man) is in the end the only certainty (or almost) that remains?

And in the question, again, another host.

But this one that hurts.

The director manages to offer a social and political reading of a town devastated not only by the penalty of a fatal accident but by the dense network of interests and injustices that entertain the local chief and the church itself with the aim of reaching a false social peace from which both are nurtured and enriched.

But let's say that this first reading is offered as a sacrifice (and therefore a host) to what really matters.

And that other has to do as much with the meaning of matters such as

as with the mechanism that animates the representation itself.

In effect, the questioning of the theater displayed in the liturgy of the mass is what operates within the cinema itself (or in art in general) as an exercise in fable and lies necessary to find something similar to the truth.

But nobody relax.

The clarity of the confusion presides over everything until a model end in its vocation of pious sacrilege.

A whole polysemic host.

Amen.

+ The voracious and mystical realism fueled by the surprising performance of Bartosz Bielenia make 'Corpus Christi' one of the most notable films of the year- The characterization of the local chief at times is close to unnecessary caricature

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