{"id":7226,"date":"2018-10-17T17:25:17","date_gmt":"2018-10-17T17:25:17","guid":{"rendered":"http:\/\/asinovolablog.it\/?p=7226"},"modified":"2018-10-17T17:25:17","modified_gmt":"2018-10-17T17:25:17","slug":"don-quijote","status":"publish","type":"post","link":"https:\/\/asinovolablog.it\/en\/don-quijote\/","title":{"rendered":"The Man Who Killed Don Quijote | The Reviews"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid”][vc_column_text]A<\/span> <\/strong>legendary movie, almost a pipe dream , an obsession that has inhabited Gilliam’s head for decades.<\/p>\n

Margherita Fontana and Carlotta Magistris tell us their surreal experience, as always happens with Gilliam’s cinematography.[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” top_padding=”20″ bottom_padding=”20″ overlay_strength=”0.3″ shape_divider_position=”bottom”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”7227″ alignment=”center” animation=”Fade In” img_link_large=”yes” border_radius=”none” box_shadow=”none” max_width=”100%”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid”][divider line_type=”No Line” custom_height=”20″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom”][vc_column column_padding=”padding-1-percent” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

The Man Who Killed Don Quijote \u2013 as seen by Margherita Fontana<\/em><\/span><\/h5>\n

The latest film by Terry Gilliam is literally, so to speak, is latest effort: presented at Cannes, The\u00a0Man Who Killed Don Quixote<\/em> comes to light after 29 years of personal and financial struggles \u2013\u00a0which by the way have become a documentary themselves (Lost in La Mancha, 2002). This whole\u00a0thing sounds curious since the film seems to be precisely about that: by weaving together biography\u00a0and fiction, past and present, as well as different cinematographic languages (Hollywood and\u00a0student indie film, colour and B\/N, to name but two), the film describes the complexity of the creative process, while paying homage to the classic by Cervantes. In Gilliam\u2019s disturbing and\u00a0satirical universe the privileged point of view is not the protagonist\u2019s one (Jonathan Pryce, with\u00a0Gilliam in his masterpiece Brazil<\/em>) , but his esquire Sancho Panza\u2019s (Adam Driver), the director’s alter\u00a0ego. Maybe that\u2019s because only this lateral perspective can reveal what it means to shape a story, an\u00a0idea, a film: a desperate journey through a dangerous territory, in the pursuit of what seems to be\u00a0only a misunderstanding of the real.[\/vc_column_text][divider line_type=”No Line” custom_height=”20″][vc_column_text]\n

The Man Who Killed Don Quijote \u2013 as seen by Carlotta Magistris<\/em><\/span><\/h5>\n

Well-known example of development hell, with eight attempts in twenty years, The Man who killed Don Quixote<\/em> is the story of a young spot director (Adam Driver) who falls victim of his own work, meeting again – many years after he shot his degree movie in a small Spanish country based on the Don Chisciotte by Cervantes – the people who took part in his work, which he left full of expectations. What he finds is a series of deviated personalities, in particular the old man who interpreted Don Quixote, consciously or not persuaded of his being Don Quixote himself, confusing the main character with Sancho Panza and creating many alienated jokes. Going deeper, this is a reflection about doing cinema, about illusion and the loss of illusion, an identity crisis and individual growth; an ambitious and magniloquent work which remains effective for the ones who love this movie genre, losing itself in a narrative style typical of Gilliam\u2019s cinema, made of paradoxical situations and belly irony but not opening the door to an eventual other kind of public, who toils to get over the pressing and almost repetitive narrative style to retrace deeply the macro reflexivity of the story.[\/vc_column_text][divider line_type=”No Line” custom_height=”20″][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid”][vc_column_text] legendary movie, almost a pipe dream , an obsession that has…<\/p>\n","protected":false},"author":2,"featured_media":7230,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[96],"tags":[171],"yoast_head":"\nThe Man Who Killed Don Quijote | The reviews by Concorto Film Festival<\/title>\n<meta name=\"description\" content=\"The Man Who Killed Don Quijote, Terry Gilliam's latest effort, as reviewed by 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