En este episodio nos preguntamos qué es un melodrama y por qué suele considerarse un género de segunda fila.
Reflexionamos sobre cómo algo que se suele ver casi como escapismo romántico no es en realidad tan frívolo e ingenuo como parece, al menos no en los buenos melodramas.
Nos planteamos también si el melodrama ha cambiado con el paso de los años y dónde está la frontera del melodrama con otros géneros similares.
Películas analizadas:
- Imitation of Life, Douglas Sirk (1959, EE. UU.).
- All that Heaven Allows, Douglas Sirk (1955, EE. UU.).
- Él, Luis Buñuel (1953, México).
- Sex, Lies, and Videotape, Steven Soderbergh (1989, EE. UU.).
- Far from Heaven, Todd Haynes (2002, EE. UU.).
Otras menciones:
- Magnificent Obsession, Douglas Sirk (1954, EE. UU.).
- Das Cabinet des Dr. Caligari, Robert Wiene (1920, Alemania).
- The Neon Demon, Nicolas Winding Refn (2016, EE. UU., Bélgica, Dinamarca, Francia).
- Un chien andalou, Luis Buñuel (1929, Francia).
- Tristana, Luis Buñuel (1970, España).
- Vertigo, Alfred Hitchcock (1958, EE. UU.).
- Thunder on the Hill, Douglas Sirk (1951, EE. UU.).
- Little Women, Greta Gerwig (2019, EE. UU.).
ADVERTENCIA: Contiene spoilers, lenguaje adulto y descripciones de escenas no aptas para menores.
Si tienes comentarios o sugerencias sobre temas y pelis que podríamos analizar, déjanos un mensaje o escríbenos a info@mentaenblanco.com
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