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Most Beautiful Island (2017)

Posted 2017/12/06 137 0


Most Beautiful Island Movie Poster

Genre: DramaThriller

Duration: 80 Minutes

Quality: HD


IMDb: 6.6


Moderate consume awfulness spine chiller “Most Beautiful Island” is tragically most baffling when its makers are backing off sufficiently long to make you

think about Luciana (essayist/director Ana Asensio), a Spanish migrant living in New York City. Asensio invests a great deal of energy endeavoring to make viewers appreciate the everyday cerebral pains, and bombshells that lead Luciana to a shady gathering, where she’s guaranteed $2,000 just for standing around, and looking appealing. However, a large number of the scenes that contextualize Luciana’s edginess are so high pitched, thus significantly threadbare that one can’t resist the urge to feel like you’re being confronted by a vagrant who won’t take no for an answer. Luciana is a thoughtful character, so denying her humankind feels cheap. In any case, until her plight becomes emotionally engaging amid the film’s frightening finale 20-30 minutes, watching “Most Beautiful Island” is an ineffectively repulsive ordeal.

To be clear: Asensio isn’t a lesser producer for making a decent attempt to motivate watchers to like Luciana. Or maybe, the way that she delineates Luciana’s pre-frightfulness party life is lamentably wearisome. It’s an ideal tempest of level line-readings, limit exchange, and dully depleting pre-party scenes. In the long run, I stopped feeling terrible for not minding enough about Luciana’s situation, and began sitting tight for Asensio’s story to either end, or get all the more fascinating. Gratefully, the last occurs before the previous can.

In this way, indeed, Luciana does eventually attend a scrappy party, because she needs money to bring home the bacon. However, until at that point, we watch her life winding crazy, and over and over hit absolute bottom. Because Luciana has no alternatives now, so she has to barrel through a few nightmarish experiences, any of which could sink somebody’s day. She runs out of cash on the paid ahead of time phone card she calls home with. This is after she has an attempting telephone call with her mom, who beseeches her to come back to Spain, and tries to persuade Luciana that individuals have pardoned her for an unexplained injury. All things considered, Luciana goes ahead. Since her lease is expected, as her flat mate’s uninvolved forceful ice chest post-it note demands. Furthermore, Luciana’s scarcely scratching by with her two jobs: costumed mascot for a broiled chicken eatery, and sitter for two bratty children. She generally runs late for her minding, so her two slight charges walk everywhere on her, requesting frozen yogurt, running off, and threatening to snitch on Luciana.

What’s more, through everything, Luciana never has any cash. She barely skates by thanks to the generosity of outsiders, and the eternal promise that she’ll have the capacity to pay them back tomorrow. Which, once more, is hypothetically thoughtful. However, after a specific point, viewing “Most Beautiful Island” really grinds away at you.

The storyteller’s way of address is assaultive, and dead. Asensio won’t take no for an answer, and she only keeps piling on scenes that request watchers not only understand her character’s dilemma, but rather value that there are genuine conditions that could lead an unattached female immigrant to consent to go to a frightening gathering in an undisclosed basement. There are many cautioning signs that Luciana willfully overlooks, especially the way that kindred chicken mascot Olga (Natasha Romanova) does not give many subtle elements when she offers to connect Luciana with this seemingly easy, one-off gig. However, Luciana needs to go, and watchers must comprehend that.

In any case, Asensio places words in her character’s mouth that a more experienced movie producer wouldn’t, care for when Luciana wanly mourns to Olga that “I’m tired of the conceivable outcomes.” And there are a few scene that simply feel too long, and pushy, as the protracted scene where Luciana battles to locate the primary secretive area where she supposes the gathering is being held, just to be carried to another location, get into a serene squabble with a cabby, and then finally arrive at the unpleasant storm cellar party. There’s additionally the overlong scene where Asensio spooks, argues, and shouts at a couple of children because, once more, she has no different alternatives. These are sympathetic issues. In any case, Asensio gracelessly pelts watchers with her character’s problems, and requests that we passively accept the awfulness of this experience.

Gratefully, the unpleasant party that Luciana goes to is actually creepy. Its mechanical/wine cellar dungeon vibe is generally calm, and in this manner sufficiently climatic that you want to like Luciana again. Your creative energy begins to work extra minutes, making inquiries like Why are none of the other party visitors conversing with each other, Why are visitors being recorded into a fixed room one-by-one, and What’s behind that door that is making paid visitors seem as though they just survived an extraordinary experience? The responses to these inquiries are engaging, though in a thick, finished the-top way. I wish Asensio went assist over-the-top, however she arranges her party scenes so well that I was attracted regardless. “Most Beautiful Island” may require a significant stretch of time to go ahead, yet once it does, you’ll be anxious to see what Asensio does next.


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