6 Oscar-worthy movies that went unnoticed on Netflix

Ya no Estoy Aquí (2019), Fernando Frías de la Parra

Disclosure / Netflix

Ulises is not a Homer character, nor is he part of any “Odyssey”, but he might as well. The protagonist of “Ya no Estoy Aquí” has his own journey, a path in search of self-knowledge and discovery of the world, honor, affirmation. The 17-year-old, like anyone in Monterrey, northeast Mexico, likes baggy clothes, extravagant hair, trinkets, an aesthetic that, on a light analysis, would hark back to New York rappers. In the case of Ulises, the kid is a worthy representative of regional culture, more precisely Hispanic-Latin. He dreams of becoming an exponent of Kolombia, a subtype of cumbia, a rhythm that emerged in the South American country, with some tempo variations. Ulises also, like an ordinary teenager, hangs out with his friends, and that’s where the problem lies. In one of these, he meets real criminals, gets into trouble with them and his only way out is to immigrate, in the trunk of a van, to the United States. There, he turns around as best he can, dancing on the subway to defend some change and sleeps in the attic of the Chinese-American girl, also an intruder in the stuffy little world of America, interested in him, but not reciprocated, because Ulises doesn’t speak. English, and the girl doesn’t understand Spanish either. Fernando Frías de la Parra’s film is a portent of beauty, of originality, with its shots sometimes shot, sometimes slow, almost dragging, everything coldly thought, frames almost always very open, in order to give the scene a feeling of distance. , of exclusion. The result of such care is a genuine anthropological treatise on youth in peripheral Latin American countries, on cultural resistance in these lost corners, from the perspective of the oppressed, without ever allowing concessions to victimism. Ulises is worthy to the roots of his bleached hair, even as he concedes defeat and submits. A hero, therefore.

The article is in Portuguese

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