PUNTUACIÓN EN IMDb
7,5/10
12 mil
TU PUNTUACIÓN
La vida terriblemente aburrida de una mujer se ve turbada tras quedarse embarazada por un lío de una noche, lo que hace que busque venganza.La vida terriblemente aburrida de una mujer se ve turbada tras quedarse embarazada por un lío de una noche, lo que hace que busque venganza.La vida terriblemente aburrida de una mujer se ve turbada tras quedarse embarazada por un lío de una noche, lo que hace que busque venganza.
- Premios
- 6 premios y 5 nominaciones
Helka Viljanen
- Office employee
- (as Helga Viljanen)
Unknown Tank Man
- Self
- (metraje de archivo)
- (sin acreditar)
Argumento
¿Sabías que...?
- CuriosidadesThe third installment of Aki Kaurismäki's Proletariat Trilogy, after Shadows in Paradise (1986) and Ariel (1988). Over 30 years later Fallen Leaves (2023) became the fourth one in the "trilogy".
- ConexionesFeatured in I Am Curious, Film (1995)
Reseña destacada
A simple, unhurried, beautiful, minimalist modern fable
With THE MATCH FACTORY GIRL Kaurismaki might not tread new ground but instead perfects the stylistic hallmarks that marked him apart from most other directors of his generation. His work is that of a sculptor, hacking away at all the cinematic fat, shaping form by removing that which is not necessary. His movies as an extension of his sculptory approach attain an almost hypnotic quality - or perhaps boring uneventfulness for others. He's not at all trying to hit emotionally draining highs and lows but build a rhythmic lull, a soothing pace created of flows and ebbs that move with imperceptible change. As a result, his movies never hurry to get anywhere fast and when they get there not a whole lot happens. It's all about appreciating how they got there and the stylistic subtleties of that journey.
THE MATCH FACTORY GIRL finds Kaurismaki shunning dialogue even more than previous efforts, if that's even possible without making a modern silent picture. Which it pretty much is. The entirety of the dialogue doesn't amount to more than 1 minute and that too is used more as a form of punctuation to the images - he could easily have done the movie completely without dialogues if he so wanted. The story could have been summed up in a 20 minute short yet Kaurismaki stretches it to 65 minutes, a meagre duration by most people's standards, which here feels like a good 90 minutes.
Although the material is perhaps the most bleak and brooding he had done at that point in his career since his debut CRIME AND PUNISHMENT, it is spiced up by moments of his trademark glacial humour. A certain scene in bar involving a drunk, sleazy patron and rat poison had me laughing out loud, which is a minor success for a film of this kind. The most dramatic scenes are delivered with that same kind of deadpan unaffection that immediately acquires a serio-comic air for that reason.
Although it lacks the playfulness of its predecessor (ARIEL), this is still Kaurismaki in top visual form. He has a way with images and how he orchestrates them that is quite unparalleled at his level. Sure he's not a director of epic works and spectacle but he's carved a niche for himself over the years that has his name and particular sensibilities written all over it and he's been content to work within it. If you like his style, this is a safebet. If you're a newcomer I'd suggest starting with something like ARIEL.
THE MATCH FACTORY GIRL finds Kaurismaki shunning dialogue even more than previous efforts, if that's even possible without making a modern silent picture. Which it pretty much is. The entirety of the dialogue doesn't amount to more than 1 minute and that too is used more as a form of punctuation to the images - he could easily have done the movie completely without dialogues if he so wanted. The story could have been summed up in a 20 minute short yet Kaurismaki stretches it to 65 minutes, a meagre duration by most people's standards, which here feels like a good 90 minutes.
Although the material is perhaps the most bleak and brooding he had done at that point in his career since his debut CRIME AND PUNISHMENT, it is spiced up by moments of his trademark glacial humour. A certain scene in bar involving a drunk, sleazy patron and rat poison had me laughing out loud, which is a minor success for a film of this kind. The most dramatic scenes are delivered with that same kind of deadpan unaffection that immediately acquires a serio-comic air for that reason.
Although it lacks the playfulness of its predecessor (ARIEL), this is still Kaurismaki in top visual form. He has a way with images and how he orchestrates them that is quite unparalleled at his level. Sure he's not a director of epic works and spectacle but he's carved a niche for himself over the years that has his name and particular sensibilities written all over it and he's been content to work within it. If you like his style, this is a safebet. If you're a newcomer I'd suggest starting with something like ARIEL.
útil•272
- chaos-rampant
- 5 dic 2008
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Detalles
- Fecha de lanzamiento
- Países de origen
- Idioma
- Títulos en diferentes países
- The Match Factory Girl
- Localizaciones del rodaje
- Empresas productoras
- Ver más compañías en los créditos en IMDbPro
Taquilla
- Recaudación en todo el mundo
- 701 US$
- Duración1 hora 9 minutos
- Mezcla de sonido
- Relación de aspecto
- 1.85 : 1
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Principal laguna de datos
By what name was La chica de la fábrica de cerillas (1990) officially released in India in English?
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