Cronica de un desayuno combines the worst defects of mexican cinema, a rare feat nowadays.
It's pretentious: it wants us to believe that it is deep, only because some scene is out-of-focus, another is pseudo-surreal, yet another plays with the Eisenstein-Infante-Caifanes tradition of laughing-crying faces, the edition is fragmented, and it is all so solemn.
It has a weak script: the main story hardly develops, so it has other three smaller, needless stories, stuck into it. They are only good to make the film last longer.
Most of the acting is bad. A true feat, baring in mind that many of the best known mexican actors were cast.
There is an abuse of unnecesary foul language. To the point that the character of Paloma, who symbolizes the dreams of freedom of a child, uses it throughly.
It is homophobic. The character played by Eduardo Palomo is the sorriest, and most punished, representation of a transexual I have ever seen.
It is very boring. I ended up envying the people that left the theater before the end of the film.
Whatever it tries, it has been done better, in Mexico and elsewhere.
In other words: "Para partirte la madre, nada como una mala película"
It's pretentious: it wants us to believe that it is deep, only because some scene is out-of-focus, another is pseudo-surreal, yet another plays with the Eisenstein-Infante-Caifanes tradition of laughing-crying faces, the edition is fragmented, and it is all so solemn.
It has a weak script: the main story hardly develops, so it has other three smaller, needless stories, stuck into it. They are only good to make the film last longer.
Most of the acting is bad. A true feat, baring in mind that many of the best known mexican actors were cast.
There is an abuse of unnecesary foul language. To the point that the character of Paloma, who symbolizes the dreams of freedom of a child, uses it throughly.
It is homophobic. The character played by Eduardo Palomo is the sorriest, and most punished, representation of a transexual I have ever seen.
It is very boring. I ended up envying the people that left the theater before the end of the film.
Whatever it tries, it has been done better, in Mexico and elsewhere.
In other words: "Para partirte la madre, nada como una mala película"