Penélope Cruz

Official Competition

  • Title: Competencia oficial
  • IMDb: link

From Mariano Cohn and Gastón Duprat comes this dark satire featuring a group of people who should never have gotten together to make a film when a businessman (José Luis Gómez) turned producer looks to enhance his reputation despite knowing nothing about film (or the Nobel Prize winning novel he’s bought). Then there’s the eccentric director (Penélope Cruz) who casts the book’s estranged brothers with a method theater actor (Oscar Martínez) and a worldwide movie star (Antonio Banderas) hoping to harness their mutual animosity to fuel the film.

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Parallel Mothers

  • Title: Parallel Mothers
  • IMDb: link

For a film that centers around a plot point that would be right at home in any soap opera, Parallel Mothers provides a surprisingly strong drama. Penélope Cruz and Milena Smit are strangers who meet in the hospital, both giving birth to their first child. Each will take home a boy, but what they won’t realize for quite some time is that each mother was given the other’s son.

It’s Janis (Cruz) who begins to suspect the truth when the father (Israel Elejalde), a flirtatious archeologist with a wife and no real interest in a more permanent relationship with the photographer, sees no resemblance in the child to anyone in his family. A chance meeting with Ana (Smit) brings the characters back into each others orbit as Janis’ suspicions are realized and a gnawing guilt over the truth begins to color all that will follow.

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Murder on the Orient Express

  • Title: Murder on the Orient Express
  • IMDb: link

Murder on the Orient Express movie review

2017’s Murder on the Orient Express isn’t the first adaptation of Agatha Christie’s work, nor is likely to be the last. Director Kenneth Branagh, who also stars as Christie’s famous detective Hercule Poirot, offers a stylish version of events featuring an all-star cast as mystery and murder unfold on the renown luxury passenger train which gets stuck in an avalanche with a murderer onboard. And, to make sure his performance won’t be forgotten, Branagh sports some of the most bizarre facial hair you’ll see on film (at least one not filed under Science Fiction).

The movie gets off to an interesting start by introducing us to Poirot solving an unrelated mystery which sufficiently showcases the detective’s considerable deductive ability to the audience. However, from this sequence up until the murder aboard the train, the film stalls a bit while getting Poirot aboard and introducing the variety of characters who will become his suspects over the remainder of the film. Once there’s a dead body and mystery to solve, the film picks up again, although the conclusion to Christie’s mystery doesn’t work quite as well on film as it may on the printed page.

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