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Agustín Acevedo Kanopa

Tomatometer-approved critic
Biography:

Agustín Acevedo Kanopa, born in Montevideo, 1985, is an Uruguayan film critic, fiction writer and psychologist. He has been writing about cinema and music in La diaria since 2008, freelancing for other notorious newspapers and magazines like The New York Times, Vice Latin America and Revista Lento. He performed as FIPRESCI jury in Rotterdam, Mannheim-Heidelberg and Mar del Plata

Publications:

Reviews

Movies TV Shows
Creed III (2023) 89% 6/10 EDIT “Creed has to definitely become Apollo and survive this transformation in which his ex-friend is much more like Rocky. Thus, destroying the past and rebuilding from it seems to be something that closes not only Creed's arc, but also Rocky's.” – La Diaria Apr 25, 2023 Full Review Smile (2022) 80% 6/10 EDIT “Smile shows itself as a strange mixture of goldsmithing and cheap jewelry: the more unconscious it is of its own message and the further it is from giving its monsters a total shape (physical or metaphorical), the closer it is to saying something real.” – La Diaria Apr 25, 2023 Full Review John Wick: Chapter 4 (2023) 94% 8/10 EDIT “The whole arc, with its excesses and ridiculousness, ends up closing –but above all, it seems to condense– not only the leit motifs of the saga, but almost everything that has been choreographically action cinema of the last 20 years.” – La Diaria Apr 25, 2023 Full Review Wheel of Fortune and Fantasy (2021) 99% 7.5/10 EDIT “The strength of The Wheel of Fortune and Fantasy lies in the point of connection and at the same time disconnection between that individualist philosophical project and that other in which the individual is more erased.” – La Diaria Feb 27, 2023 Full Review Little Joe (2019) 67% 5/10 EDIT “Little Joe isn't emotional or even tacky enough in its convictions and twists to be fun —like a lot of B-movie sci-fi movies—nor is it as elevated and complex as Upstream Color (Shane Carruth, 2013)” – La Diaria Feb 27, 2023 Full Review Holy Spider (2022) 82% 5/10 EDIT “(...) the plot generates intrigues that, after a short time, are revealed as mere fireworks, if not gross manipulation of the footage (and which generates problematically contradictory comments about the corruption of the Iranian judicial system).” – La Diaria Feb 27, 2023 Full Review Luckiest Girl Alive (2022) 42% 4/10 EDIT “Seen as a clarifying film about the silences that usually surround abuse or as a shooter elegy –whichever it is, affirmative capitalism is the one that ends up triumphant– what remains of Luckiest girl alive is the idea of ​​something uncomfortably bland.” – La Diaria Nov 5, 2022 Full Review Great Freedom (2021) 97% 8/10 EDIT “Meise performs all the signature movements of Almodóvar, Wong Kar Wai, Reynaldo Arenas or Pedro Lemebel adding an extra delay, as in a tragic tai-chi of Hanekian discipline.” – La Diaria Oct 30, 2022 Full Review Oslo, August 31st (2011) 97% 8/10 EDIT “In films that are different in style, Joachim Trier shares with Claude Sautet this idea of ​​filming life, a life, in which in the end we add and subtract, to arrive at a barely approximate idea of ​​whether it was worth living or not.” – La Diaria Oct 30, 2022 Full Review The Wolf House (2018) 96% 8/10 EDIT “in The Wolf House the volumetric and the pictorial are governed more by emotional, magical or shamanic rules than merely coincident. Their interrelation is more expressive than geometric or conceptual.” – La Diaria Oct 30, 2022 Full Review Crimes of the Future (2022) 80% 6/10 EDIT “To mark a work as a requiem is equivalent to burying an artist, but with Cronenberg one knows that the limits between the dead and the living, between the rotten and the germinal, are much more porous.” – La Diaria Oct 30, 2022 Full Review You Cannot Kill David Arquette (2020) 85% 7/10 EDIT “What is most impressive about You Cannot Kill David Arquette is not the physicality of the matter, but rather the emotional and mental. The directors have the strange ability to make everything that should cause embarrassment become authentic and exciting” – La Diaria Oct 30, 2022 Full Review Blonde (2022) 43% 1/10 EDIT “The only redeeming thing about it is that with films like these one becomes more feminist: there it is, disassembled, everything that has been said about the male gaze, the politics of bodies and about re-victimization, in a dark and necrophiliac show .” – La Diaria Oct 30, 2022 Full Review Spencer (2021) 83% 3.5/5 EDIT “Stewart's personification is more authentic than what a legion of imitators of Lady Di could have provided, according to the same principle by which a painting by Emil Nolde, more than faithfully reproducing a sunset, speaks about the truth of the light.” – La Diaria Apr 14, 2022 Full Review Drive My Car (2021) 97% 4.5/5 EDIT “In times when there is a particular insistence on the explosiveness of emotions, when lukewarmness is criticized as a lack of affective (or political) commitment, Drive my Car is not only a good film, but an important one.” – La Diaria Apr 14, 2022 Full Review Red Moon Tide (2020) 91% 4/5 EDIT “This glorious point of Lúa vermella is having been able to film the elusive sensation, so great that it cannot be perceived in its full magnitude, of the end of times. To make mythology tactile, only with a set of filters and a brilliant camera pulse” – La Diaria Mar 30, 2022 Full Review Shiva Baby (2020) 96% 3.5/5 EDIT “(...) Shiva Baby is definitely that: a horror film with shame turned into its magmatic center; one of those nightmares where we find ourselves naked in front of a bunch of people, but as stretched out as it is condensed into 76 minutes of despair.” – La Diaria Mar 30, 2022 Full Review Cruella (2021) 75% 3/5 EDIT “The best way to enjoy and even understand Cruella is to see it as a punk opera, in which what moves the needle are not so much the musical segments but the dresses on display.” – La Diaria Mar 30, 2022 Full Review First Cow (2019) 96% 3.5/5 EDIT “In a world in which all social contracts seem to be dynamited, seeing two men in a movie who respect and care for each other even though they have different interests (far from envy, ambition, love or homoeroticism) is a great discovery” – La Diaria Mar 30, 2022 Full Review Another Round (2020) 93% 3.5/5 EDIT “(...) Thus, beyond the authenticity in Mikkelsen's performance, one always feels the thin and malevolent threads of Vintenberg, that sly smile of an old testament's God who subjects his children to various challenges.” – La Diaria Mar 30, 2022 Full Review Ghosting Gloria (2021) 71% 2.5/5 EDIT “Ghosting gloria is self-aware of the conventions to which he resorts, but it does not seem to go on the parody side: rather, what prevails is the desire to take these elements that usually appear in romantic comedies and exaggerate them.” – La Diaria Mar 30, 2022 Full Review Dune (2021) 83% 3.5/5 EDIT “Duna works sometimes like a strange abstract opera in which we perceive more the intensities than the representation of the events, and sometimes not only do we not know what part of the story we are in, but what is concretely happening.” – La Diaria Mar 30, 2022 Full Review The Lost Daughter (2021) 94% 2.5/5 EDIT “There is an exaggerated underlining of these images that at times makes them lose their freshness a bit, almost as if we have Maggie Gyllenhal pinching us on the shoulder and saying See? Did you understand? There!” – La Diaria Mar 30, 2022 Full Review State Funeral (2019) 88% 3.5/5 EDIT “Loznitsa redoubles reality because not only does he reincorporate real images (with impeccable colorization and sound editing work), but he orders and edits them as the person in charge of filming that state funeral would have edited them.” – La Diaria Mar 30, 2022 Full Review Parallel Mothers (2021) 96% 1/5 EDIT “The big problem with Parallel Mothers is not that it mixes a lot of subplots that don't quite fit together, but rather that the candor that makes Almodóvar "Almodóvar" never materializes in that disembedding.” – La Diaria Mar 30, 2022 Full Review
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