MOVIES AT LA PLAZA: HIT ME HARD AND SOFT-- The thoroughness of simplicity

Movie Review by Sergio Martinez

It's not easy to break away from the most common approach when making a film documenting one or more popular music concerts: the focus is primarily on the performers themselves, with little attention paid to the incidental elements that precede or accompany the performances. While the documentary's protagonist is Billie Eilish, this film departs from that traditional view to offer a broad perspective on both the artist and the atmosphere of the concert. Thus, while the performance itself stands out for its simplicity, expressed in both the artist's attire and the accompanying staging, the film, directed by veteran Canadian filmmaker James Cameron and the singer herself, details, in a highly original way, the preparation of the stage and the artist.

The camera work and the original framing of the scenes are particularly noteworthy, with some filmed from the audience's point of view. At times, a spectator's head passes in front of the camera, highlighting one of the aspects the artist has emphasized in her performances: her commitment to and connection with her audience. The film reflects this aspect very well in numerous scenes, in which, especially the artist's fans, express their feelings and what her music means to them.

Shot during Billie Eilish's concert in Manchester, as part of her tour, the film also presents the artist in various moments before the show, where she addresses different aspects of her career. Some of the points she emphasizes are her relationship with her audience, the type of songs she has created, and—a particularly interesting aspect—her stage presence. Unlike other singers who wear outfits that highlight their physical beauty with heavy body exposure, Billie appears dressed in an outfit that is too big for her. She doesn't believe it's necessary for an artist to show too much skin to succeed. A certainly interesting message from a young woman (currently 24) who is also quite beautiful. Regarding her stage movements, although she also has dance training, the singer doesn't make a big show of that skill and, at times, sings at the edge of the stage, very close to the audience, or, on other occasions, even lying down on a platform. What she does do—with a great display of energy—is run quite a bit during the performance, a stage which was extensive enough to offer a good view from different points in the auditorium.

The music the singer creates and performs is primarily soft rock, though she also explores harder themes. During the concert, one of the highlights was her performance with her brother Finneas. Hit Me Hard and Soft: The Tour (Live on 3D) is a film we certainly recommend, not only for her fans or rock lovers, but also for its excellent cinematography, innovative framing, and original scenes with Billie offstage. Incidentally, it should be noted that Billie is not only a unique performer but also a woman of great talent, as evidenced by her first major hit at 18 (Ocean Eyes). To date, along with her brother Finneas, she has won nine Grammy Awards and two Oscars for music for the films No Time to Die (2021) and Barbie (2024). As a young artist, she has also not shied away from political themes; During the 2024 presidential campaign, she became involved in promoting youth participation, a demographic often perceived as politically indifferent. Shortly after the election, she didn't hesitate to express her disappointment with the result on stage after a concert: "Someone who hates women so deeply is about to become president of the United States of America."

Running time: 154 min.

CINE EN LA PLAZA: HIT ME HARD AND SOFT—La prolijidad de la sencillez

Comentario de Sergio Martínez

No es fácil salir del patrón más habitual cuando se hace una película que documenta uno o varios conciertos de música popular: el enfoque se centra principalmente en los intérpretes mismos, sin mucha atención a los elementos accesorios que preceden o acompañan el desarrollo de las actuaciones. Sin olvidar que la protagonista del documental es Billie Eilish este film se aleja de esa visión tradicional para ofrecer una perspectiva muy amplia tanto de la artista como del ambiente en el que se desarrolla el concierto. Así, mientras la actuación misma destaca por la sencillez expresada tanto en el vestuario de la artista como en la puesta en escena que la acompaña, el film, dirigido por el veterano cineasta canadiense James Cameron y por la propia cantante, detalla de un modo muy original, el trabajo previo de preparación del escenario y de la artista.

Cabe destacar especialmente el trabajo de cámara y los originales encuadres de las escenas, algunas de ellas filmadas desde el punto de vista de los espectadores. A veces la cabeza de alguno de ellos pasa por delante de la cámara, resaltando así uno de los aspectos que la artista ha subrayado en sus actuaciones: el compromiso y la cercanía con su audiencia. La película refleja muy bien este aspecto en numerosas escenas, en las que, especialmente las fans de la artista, expresan sus sentimientos y lo que su música significa para ellas.

Filmada durante el concierto que Billie Eilish ofreció en Manchester, como parte de su tour, la película también muestra a la artista en diversos momentos previos al espectáculo, en los que aborda distintos aspectos de su carrera. Algunos de los puntos que remarca son el de la relación con su público, el tipo de canciones que ha creado y —un aspecto sin duda interesante—su apariencia en escena. A diferencia de otras cantantes que se muestran en prendas que resaltan su belleza física con mucha exhibición de su cuerpo, Billie se presenta vestida con un atuendo de talla mayor que su cuerpo. Ella misma señala que no considera necesario que una artista muestre demasiado de su piel para triunfar. Un mensaje ciertamente interesante de parte de una joven mujer (actualmente tiene 24 años) que, además, es bastante bonita.

Respecto de sus movimientos en escena, aunque también tiene formación en danza, la cantante no hace gran alarde de esa habilidad y, por momentos, canta a la orilla del escenario, muy cerca de la gente, o, en otras ocasiones, incluso recostada sobre una tarima. Lo que sí hace—con gran despliegue de energía—es correr bastante durante el escenario que, en este caso, era lo suficientemente extenso como para ofrecer una buena vista desde distintos puntos del auditorio.

La música que la cantante crea e interpreta es principalmente rock más bien suave, aunque también tiene algunos temas más duros. Durante el concierto, uno de los momentos culminantes fue la interpretación que realizó junto con su hermano Finneas.

Hit Me Hard and Soft: The Tour (Live on 3D) es una película que ciertamente recomendamos, no solo para quienes son sus fans o quienes gustan del rock, sino también por la excelente fotografía, innovadores encuadres y originales escenas con Billie fuera del escenario.

De paso, hay que señalar que Billie no sólo es una singular intérprete sino también una mujer de gran talento ya revelado cuando a los 18 años tuvo su primer gran éxito (Ocean Eyes) y hasta ahora, junto a su hermano Finneas, ha ganado nueve premios Grammy y dos Óscar por música para los filmes No Time To Die (2021) y Barbie (2024). Como joven artista, tampoco ha rehuido temas políticos; en la campaña presidencial de 2024 se involucró en la promoción de la participación de los jóvenes, que a menudo se muestran indiferentes a la política. Poco después de la elección, no vaciló en manifestar en el escenario, luego de un concierto, su decepción por el resultado: “Alguien que odia a las mujeres tan profundamente está a punto de convertirse en presidente de los Estados Unidos de América.”

Duración: 154 min.

MOVIES AT LA PLAZA: A YARD OF JACKALS—The Many Facets of Horror

Movie Review by Sergio Martínez

Military dictatorships in Latin America, as other political events marked by the arbitrary detention and eventual murder of opponents—the Nazi era, for example—can serve as a rich source for stories in which horror—the real kind, caused by factors beyond one’s control—intertwines with the horror that sometimes emerges from one’s own imagination. This is the case with the experience lived by Raúl (Néstor Cantillana) in this film written and directed by Diego Figueroa. Although the film is Chilean and is certainly inspired by the experience of Augusto Pinochet’s dictatorship, the director does not set the plot in his own country but rather presents it as an event that could have occurred under any of the military dictatorships that struck some Latin American countries in the 1970s.

However, there are some somewhat implausible aspects to the plot: the fact that Raúl seems to be unaware of the climate of repression that prevailed at the time, and that the dictatorship’s police had a secret headquarters in a house adjacent to Raúl’s. (As far as we know, both in Chile and Argentina, there were secret facilities, many of them in the middle of cities, but it is not very likely that any would have been so close to another house.) However, both aspects are essential to the story's development, so we can overlook them.

Raúl is a mysterious and strange character. His job involves designing and building scale models of buildings and other structures, which he creates on commission for the military; at the same time, he makes figurines to complement some of his miniatures. He lives with his ailing mother and communicates very little, which is why he could be described as autistic. Raúl’s limited social circle consists solely of his friendship with Laura (Blanca Lewin), who, along with her sister, runs a clothing store in the neighbourhood.

The presence of the strange neighbours and the screams Raúl hears at night from the house next door will lead him to unravel the mystery, a task in which his friend Laura will assist him. This will cause Raúl to become increasingly entangled in a web of events that will affect him very closely. He records all these events in his diary, a detail that will prove significant as well.

It is precisely when Raúl and Laura become entangled in the events unfolding in the neighbouring house that the film’s narrative takes on what might be its most distinctive feature: the interplay between reality and hallucination, between real terror and that produced by the characters’ imaginations. An interplay of levels of reality that is only revealed in the final scenes, which, in any case, leaves the viewer with some doubt as to what action the other major character—identified only as “Chacal” (Juan Cano), who appears first in the film—will take.

A Yard of Jackals is an interesting film, offering a different perspective on those times of repression. There are, however, some loose ends in the story’s development: Raúl has a gunshot wound in his leg, and it remains unclear under what circumstances it was inflicted; at another point, now more deeply involved in the events surrounding the mysterious neighbouring house, he attempts a clever maneuver to help a likely victim of the repression, without any further follow-up, though the outcome is evidently revealed in the subsequent scenes.

All in all, it is a film we recommend for its effective blend of the thriller genre with the drama's political backdrop. Both Cantillana and Lewin deliver solid, believable performances.

Running time: 108 min.