Scanialara You won't be disappointed!

Cubussoli Very very predictable, including the post credit scene !!!

Platicsco Good story, Not enough for a whole film

Pacionsbo Absolutely Fantastic

birthdaynoodle When Catalan director Jose Luis Guerín was invited to several film festivals around the world for his movie 'In the City of Silvia', he took the opportunity to document his experiences as a guest in the places that he visited: Venice, Colombia, Cuba, Peru, Hong Kong and Israel/Palestine. 'Guest' offers quiet moments of solitude. We also get to see a bit of the action at some of the festivals. But the main focus is on regular citizens, which Guerín actively engages in conversation wherever he travels. Most of them are poor and destitute and many of the discussions revolve around politics or religion. We are introduced to advocates of both the left and the right and it's not entirely clear whether we're supposed to be more persuaded by one or the other. Instead, I understood the message to be that the poor have it tough everywhere, regardless of the political system. Most of the interviews are powerfully poetic, while a few, in my opinion, could have benefited from a little more editing. In an article for twitchfilm.com, the director explained that while he's no expert in sociology, ethnology or politics, his main goal was to express his solidarity to these people and to just listen. The contrast in lifestyles between the traveling filmmaker and the subjects of his documentary helps add perspective. At some point one of them asks him about the price of his hotel room and he replies that he has no idea, as it's all paid by the festival. Not everyone gets to enjoy the relative luxury and glamor of the film industry.Guerin (best known for his excellent 2001 documentary, 'En Construcción') has a special talent for producing lyrical images in black and white of a universe that seems remote, yet very real and authentic. It's a very low-key movie, but one that I will never forget.

chairvaincre The film started well, without any particular intention or purpose, capturing life, in life. But then the filmmaker acquired a purpose, and went looking for certain things, tried to film certain things to the exclusion of others, and lost objectivity (objectivity has nothing to do with whether something is fiction or nonfiction)--which could be seen in how his subjects acted toward him, as if they were performing more and more. There was almost an expression of disbelief on their faces--the cardinal sin in documentary-making. The filmmaker paid tribute to Mekas and Akerman, but could do well to learn a bit more from them.