Deep down, man dreams of the creatures that are completely foreign to his everyday prosaic, supernatural or slightly less ethereal, those who roam this world and those who dare to subvert the tenuous logic of life and launch themselves to populate the universe frantic infinity, this plural milieu, between metaphysics and offensive concreteness, which someone, deftly, has already tried to rename by means of another suffix. The impassable distances of the multiverse will continue to be an unsettling stimulus to the salvific and diabolical audacity of the human race; the more we advance in time, the more science points to increasingly tangible chances that we are not truly alone, either in the Milky Way, with its 4,760 planets arranged in 3,519 systems, or in the other hundred billion galaxies that our brave evaluates. astronomers. The impression that remains is that we really, like the protagonist of “Waiting for the Bárbaros”, a poem by the Greek-Alexandrian Konstantinos Kaváfis (1863-1933), yearn for the extraterrestrial redeemers of our vain humanity, a predicate , that lead us to heroic actions, equating us with gods of clay on a decaying Olympus or with the insane that we will regret until death.
Cinema appropriates the perfection of our longing for all that we do not have, we are not and never will be, and gives it the form of ambivalent stories, where much of what is seen is part of the fantastic, while being designated from that which is subject to a lying tendency to a somewhat warped realism, but still full of precise movements, which, if appreciated in the light of the most refined symbolism, the less obvious and more comprehensive metaphor, will certainly give us some of the answers we are looking for so much. F. Gary Gray specializes in directing productions that focus on the absurdity of life as it is, filled with situations as unlikely as they are planned. “MIB: Men in Black — International,” the fourth film in the franchise about aliens who covet Earth and agents dressed in formal clothes to fight them, shows that plots like this seem to fall on the public’s palate, no matter how imaginative had to be. seems – or exactly why.
In the final sequence anchored by Men in Black, crucial elements emerge in terms of establishing a noticeable difference to what has been captured from the plot so far. Screenwriters Art Marcum, Lowell Cunningham and Matt Holloway retire the grown-up duo of Jay and Kay, replacing Will Smith’s spontaneous, somewhat childlike glee and Tommy Lee Jones’ iconic scowl with a pair of agents who, while they’ll never run into each other’s arms, provide audience the distinct feeling that they are just waiting for the credits to finish rolling, the lights to go down and the cameras to turn off so that they can finally have their romantic moment. Chris Hemsworth’s Agent H always appears a little lost, with that look of the most forlorn, even when called upon to complete his mission in a post-apocalyptic Paris in front of a deglamorized Eiffel Tower. It takes a very generous dose of poetic license to accompany what follows, when Gray goes back two decades and brings to the narrative the figure of Tessa Thompson, who breaks the cocoon of Molly, the fragile little girl played by Mandeiya Flory, and becomes known as Agent M, obsessed with reports of multicellular, intelligent – and wildly warlike – beings inhabiting the planets that surround us.
The character Tessa Thompson arrives in the story at just the right time, despite the director feeling the need to support her in Emma Thompson’s minor presence as a so-called Agent O, implying that Molly would never have been competent to be with the MIB- strength on your own. By the way, this feminist pseudo-discourse, filled with the most basic political correctness, is unable to sustain itself, as Gary unfortunately makes sexist jokes that go unnoticed by untrained ears, but damage anyone’s intelligence and artistic sense.
It is even better to focus on the anti-couple Tessa and Hemsworth, not to mention the adorable little monster Pawny, this, yes, a sincere defender of feminism, created by computer graphics much appreciated by the hands of Christian Wagner and Zene Bager . The result indicates that H and M – I don’t know if this is a publicity stunt or so subliminal… – will move from the City of Lights to London, but frankly, this would be a more than fitting end to movies that are already dated , though they continue to evoke good feelings in his initiates.
Movie: MIB: Men in Black — International
Direction: F.Gary Gray