The art of storytelling as an
A story about craft. One way to tell stories in a calm, quiet non-speed events but are insignificant. The small art of cinematic storytelling.
This broadly is what characterizes master the latest Clint Eastwood movie, and this is what first gives us with his latest film "Beyond Life", which will disappoint a few of the followers of this particular filmmaker.
Three stories, with no apparent common thread but the main issue is none other than death. The dark lady lurks and that in this case raises thoughts about the afterlife without complexes, without a deep scientific analysis but attempt to give a strong moral character that goes beyond (pun intended) of a simple reading frivolous causing a slight feeling of interest even in the most skeptical mind these matters so little known. Nothing radically subjective dogmas, but a slight philosophical reading of an event not to be routine we still too enigmatic. It is no coincidence that the octogenarian director views this and other dilemmas the heights of his life, but it is amazing the clarity of approach, the radical departure from a position light or superficial.
The first story takes us to see as a successful professional life and sentimental by the French hostess Marie (Cécile de France), we can move to deeper isolation and homelessness because of approaching death through a natural disaster. The second story takes us to see the sadness and the disbelief of a child facing death of his twin brother, and a drug-addicted mother. Finally, Eastwood's character shows us that a priori might be the epicenter of history, through a medium (Matt Damon) apparently without guile and he is able to see beyond life.
Eastwood elaborates this trio of stories in an absolutely independent, but with the peculiarity linked somehow to keep the viewer's retina to enrich each and to some extent combined feeding and indirectly between them. One senses that these parallel stories, though geographically far intertwined somehow merge to achieve a final redemptive ecstasy as promising solutions to the dilemmas. Not until the final when they can see if there is such a merger, but in the meantime every one of the three stories contain both individual interest, which by themselves keep the film in a narrative and emotional high. In this sense it is impossible not to remember the trilogy González Iñárritu (Amores perros, 21 Grams, Babel) film by Rodrigo Garcia (Things You Can Tell Just by looking, Nine Lives, Mothers and daughters) or the excellent Paul Haggis Crash to get an idea of \u200b\u200ba cinema that effectively goes into the particular and always controversial personal stigma of the human soul.
The film also adheres to the contemporary moment of globalization and is framed in three completely different geographical settings and in two languages \u200b\u200b(English and French) while Peter Morgan's script uses relatively recent historical events and social impact the Southeast Asian tsunami or the London bombings, to add currency, currency, and a purely contemporary allows for strictly personal view events.
The music comes from the same accurate Eastwood and photography, Tom Stern of his faithful, he adds that dense, dark halo many times necessary to achieve a climax of mystery and intrigue that accompany more than a few moments of the film. A film that also contains murmurs dear, intimate approach a certain level of emotional and above all a narrative structure that moves so well developed and maintains the interest equally intense throughout the film.
Eastwood returns to find the appropriate key. Again to deepen the friendly and sensitive side of human beings, and gives us an interesting, thoughtful, and at times sublime.
sergio_roma00@yahoo.es
Cinebulosa 
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