Souléymane Solo es un taxista senegalés de 34 años. Un día es contratado por William, un setentañero estoico: en dos semanas tiene que llevarlo a Blowing Rock, el pico de una montaña rocosa.
Bahrani was inspired by an encounter, some years ago, with a local taxi driver who did not himself own a car and had to cadge rides or take cabs to get to his job. Bahrani remembers telling his acquaintance, "You're a taxi driver and you don't have a car? One day I'll come make a film about you."
Driving around the area while visiting his family, the director would occasionally spot an older gentleman standing at the side of a road, outside a nursing facility. He
would wave, and the man would wave back. Bahrani said he would enjoy the encounters but would also feel saddened by what he perceived as the man's loneliness. The driver without a car and the aimless older man in search of companionship fused in his mind, and the kernel that would become "Goodbye Solo," written with Bahareh Azimi, began to grow.
"Has an uncanny ability to enlarge your perception of the world." NYTimes
"The scale of "Goodbye Solo" is modest, intimate; its resonance is universal." Star Tribune
"Vivas donde vivas, cuando este film se estrene allí, será la mejor película de la ciudad." Roger Ebert: Chicago Sun-Times
Siguiente: de un pasaje biográfico de Daniel Kahnemann, psicólogo israelí, Nobel en Economía en 2002 por sus investigaciones sobre juicio humano y toma de decisiones. Como punto de partida a una vocación es impagable. (via Nudge)An early event in Nazi-occupied Paris that he remembers vividly left a lasting impression because of varied shades of meaning and implications about human nature. “It must have been late 1941 or early 1942. Jews were required to wear the Star of David and to obey a 6 p.m. curfew. I had gone to play with a Christian friend and had stayed too late. I turned my brown sweater inside out to walk the few blocks home. As I was walking down an empty street, I saw a German soldier approaching. He was wearing the black uniform that I had been told to fear more than others—the one worn by specially recruited SS soldiers. As I came closer to him, trying to walk fast, I noticed that he was looking at me intently. Then he beckoned me over, picked me up, and hugged me. I was terrified that he would notice the star inside my sweater. He was speaking to me with great emotion, in German. When he put me down, he opened his wallet, showed me a picture of a boy, and gave me some money. I went home more certain than ever that my mother was right: people were endlessly complicated and interesting.”.Away we go (Sam Mendes, 2009):
Cuando Burt y Verona descubren que están a punto de tener un niño, sufren una crisis de pánico. No soportan el pueblo donde viven, y ahora que los padres de Burt se mudan de allí, pierden el sistema de apoyo con el que contaban. Deciden emprender un viaje en busca del sitio ideal para echar raíces y criar un niño.Aunque no tan redonda como Goodbye Solo, y con un tono que roza la comedia, lo cierto es que más que el viaje exterior/ interior de los protagonistas (que parten del vacío en busca de un destino), algo falto de definición y fuerza, la reflexión procede de las diversas formas en que los varios destinos que se encuentran por el camino parecen haberse desinflado inversamente en otros vacíos. Aunque asumo (ya se explicará en breve) una carga proyectiva considerable, también es cine del que te obliga a esos infrecuentes ejercicios de reflexión sobre el fracaso, el miedo, el amor, y esas cosillas (beyond popcorn, vamos).O bien, alternativa de consumo fácil (via soberinanightclub).