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Anger begets more anger

This, which in a moment of clear narrative specificity is enunciated by a character with a violent disposition, ends up expressing with great precision the thesis of this caustic, cynical, sardonic and highly entertaining film, the most recent so far of the also ironic and charismatic stupid English filmmaker Martin McDonagh (“In Witches”, “7 Psychopaths and a Dog”) who last year did not lack praise or awards for this work (including Oscars as Mjeor Film and for its cast), the most polished and meticulous in terms of character construction and handling of the drama, and undoubtedly with the best histrionic work in his brief filmography. Award-winning FrancesMcDormand shows her breadth of acting range in this film as Mildred Hayes, a woman who was swallowed up by emotional and existential darkness the night her teenage daughter was raped and cremated. His spirit in twilight the shore to rent three spectacular advertisements just on the outskirts of his city where he verbatim his pain and impotence through three posters that denounce the inability of the local police force to find the culprit of the heinous crime. Sheriff Willoughby (a Woody Harrelson demonstrating why he is one of the best actors of his generation) empathizes with the cause of this grieving woman, even if it is at the cost of her discredit, while his deputy Dixon (Sam Rockwell, sizing up her character like a true son of Trump-peasant ideology) is the antithesis of his rational and kind boss, because he opts for xenophobia, homophobia and violent administration of justice even if it could be for the right reasons. The film’s chaotic universe includes Robbie (Lucas Hedges), Mildred’s teenage son who carries his mother’s emotional tonnage and his own; to Mildred’s ex-husband, Charlie (John Hawkes), from whom she separated both because of his violent outbursts that led to beatings and because of his liking for adolescent girls; James (Peter Dinklage), the town dwarf with his heart and eyes on Mildred, and “Red” Welby (Caleb Landry Jones), the young owner of the advertising company that rents the billboards to the protagonist. They are all chess pieces in a game of emotions where each movement acquires relevance and has consequences to generate a very rich and deep plot that speaks about the human condition from the abyss closed by loss, hopelessness and death. McDonagh takes several notes from the Coen Brothers regarding the construction of small-town atmospheres that evoke a certain Bretonnian lyricism and the assembly of characters that end up reflecting the most twisted facets of ourselves. The best thing is that the film never succumbs to easy tragedy or manipulation, because it has such dramatic and narrative sufficiency in its speech that it does not require such plot crutches, as well as a bad temper that delights in the precise moments – the hilarious sequence between Mildred and a dentist annoyed by his posters or the constant dialogues brimming with black humor – without forcing or giving anything that the viewer does not require at the time. “Three Ads For A Crime” is, quite simply, the perfect tape to appreciate this Women’s Month.

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