Being John Malkovich (1999)★ 7.9/10

From the hard grey pastels of New York to the bubbly sunlight of a swimming pool, Charlie Kaufman-Spike Jonze's 'Being John Malkovich' is the sort of film that never allows you to completely get your bearings, but trusts you enough to let you enjoy the ride. It is a landscape we can recognize, glancingly, with characters we also recognize, almost intimately. John Cusack as Craig Schwartz, a disresepected puppeteer is the hinge of the film, but I have to give the most credit to the women in the film: Cathering Keener (the only acting nominee for an Oscar in the film) and especially Cameron Diaz as Lotte Schwartz, who went out of her way to become nearly impossible to recognize. And of course, there is Mr. Malkovich, who must have received this script and wondered which particular demigod was smiling down upon him.
So, see it, love it and enjoy it.
Just don't expect any of the usual conventions except for the idea that love really does conquer all.

The film’s success hinges on Kaufman’s originality and unique structuring, which avoids the obscurity of Synecdoche, New York. While packed with symbolism, understanding the plot and cinematic techniques only scratches the surface. Malkovich controls puppets onstage, while Craig controls Malkovich’s mind—a layered commentary on autonomy and identity.

Charlie Kaufman’s genius is evident in this dark comedy, packed with metaphors and wild imagination. The recurring theme of control—those who manipulate and those manipulated—mirrors real-life power dynamics. Even the cramped seventh-and-a-half floor reflects the suffocating nature of life’s limitations.

This film turns John Malkovich’s life into a fantastic and surreal experience, putting the audience though situations as ridiculous as they are thrilling and creative.

No sabía que estaba John Cusack, un actor que me gusta mucho (siento que es como Nicolas Cage, o tiene cosas que me recuerdan a él, no sé), y en esta película no falla, me dejó conforme su interpretación. Un film perverso, que me desagradó en varias escenas; pero no se puede negar la gran idea retorcida.

O sucesso do filme depende da originalidade e da estruturação única de Kaufman, que evita a obscuridade de Sinédoque, Nova York. Embora repleto de simbolismo, a compreensão do enredo e das técnicas cinematográficas apenas arranha a superfície. Malkovich controla as marionetes no palco, enquanto Craig controla a mente de Malkovich — um comentário em camadas sobre autonomia e identidade.

El éxito de la película se debe a la originalidad y la estructura única de Kaufman, que evita la oscuridad de Synecdoche, New York - Todas las vidas, mi vida. Aunque está repleta de simbolismo, comprender la trama y las técnicas cinematográficas solo araña la superficie. Malkovich controla marionetas en el escenario, mientras que Craig controla la mente de Malkovich, una crítica escalonada de la autonomía y la identidad.

A genialidade de Charlie Kaufman é evidente nessa comédia de humor ácido, repleta de metáforas e imaginação selvagem. O tema recorrente do controle — aqueles que manipulam e aqueles que são manipulados — espelha a dinâmica do poder na vida real. Até mesmo o lotado sétimo andar e meio reflete a natureza sufocante das limitações da vida.

El ingenio de Charlie Kaufman es evidente en esta comedia negra, que está repleta de metáforas e imaginación salvaje. El tema recurrente del control, los manipuladores y los manipulados, es una reflexión de las dinámicas de poder de la vida real. Incluso el reducido piso 7½ refleja la naturaleza sofocante de las limitaciones de la vida.

Peliculón!!

Esta película hace de la vida de John Malkovich una experiencia completamente surrealista y fantasiosa, poniendo a los espectadores en situaciones tan ridículas como creativas y emocionantes.