Reseña from “Pedro Páramo”, the new Netflix film based on the novella by Juan Rulfo

The new cinematic version of Pedro ParamoWritten by Juan Rulfo, the novel was released on Netflix on November 6th and is the directorial debut of famous Mexican film photographer Rodrigo Prieto.

The classic of Mexican literature, published in 1955, adapted by the Spanish director Mateo Gil, who worked there Mar Adentro j Abre los Ojos.

The fifth section tells the story of Juan Preciado (Tenoch Huerta), who came with a loud voice and gave a lot of warmth to a farmer (Noé Hernández) who came to Comala. The man’s competition must be made for everyone and the decision to visit him. “Busco a mi padre, Pedro Paramo.”

“Yo también soy hijo de Pedro Páramo”, revira el campesino.

Rulfo’s novel is characterized by a magical realism that can be very difficult and confusing to film. More than a Lugar like Comala, Donde las apariencias son a engaño.

What Prieto has done is the right direction for the novella, with everything and the orders – or commands – in conversation with characters and dialogues. The result is a fifth text, but with the intangible ad hoc photo for a photographer like Prieto: I’m looking for images that the captain hears all the time.

It is strange that the mayor has just released the film, and I have seen it, his limited mayor: they are oníricos representatives, son of a ritmopause, companions of media discussions, voice and off and the enigmatic meanings, an incredibly demanding and Comprehensive exercise for a professional observer. Only accessible if you don’t know the desk.

At the last moment the film is played back by the audience and the rumbo becomes agile. The final image we get from the film is of a tangible Mexican emanating from every pixel. There is never a moment when I want to add something or intend to lighten the text.

This is the film Prieto asked. It’s not an exact Dócil, but I don’t know what it means: Pedro Paramo.

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It’s a complicated job to bring the film into a book that is both vivid and meaningful. Overall, there is a complex story whose main characteristics are the sensation of the world. The production of this fifth is flawless without an embargo for everyone involved.

The photography, also by Prieto, together with Nico Aguilar, the environment and the Eleón, is the best of the cinema presented at the Toronto Film Festival.

Manuel García-Rulfo asked him to work with Pedro Páramo, while Tenoch Huerta carried out a magical and pessimistic scenario for Juan Preciado in the first season of the film. Dolores Heredia begins the film in her final scenes, playing the brilliant actress Ilse Sala as Susana San Juan.

The film, with its many fantasies, had a tone of nostalgia, and its look back at a Mexico last year got him excited.

With all the other things going on, the main thing you have to do is keep the viewer’s attention, because in some moments you can be confused, but the reward is great because it is the type of work that remains in the after completion Mente lies.

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