THE FALL GUY | OFFICIAL TRAILER 2. BUFON, DE ALVARO DEL AMO, HABLA SOBRE EL MUNDO DE LA ÓPERA

 He’s only the stuntman, but he’s stealing the show.

#TheFallGuyMovie Only in Theaters May 3.

He’s a stuntman, and like everyone in the stunt community, he gets blown up, shot, crashed, thrown through windows and dropped from the highest of heights, all for our entertainment. And now, fresh off an almost career-ending accident, this working-class hero has to track down a missing movie star, solve a conspiracy and try to win back the love of his life while still doing his day job. What could possibly go right?

From real life stunt man and director David Leitch, the blockbuster director of Bullet Train, Deadpool 2, Atomic Blonde and Fast & Furious Presents: Hobbs & Shaw and the producer of John Wick, Nobody and Violent Night, comes his most personal film yet. A new hilarious, hard-driving, all-star apex-action thriller and love letter to action movies and the hard-working and under-appreciated crew of people who make them: The Fall Guy.

Oscar® nominee Ryan Gosling (Barbie, La La Land, Drive) stars as Colt Seavers, a battle-scarred stuntman who, having left the business a year earlier to focus on both his physical and mental health, is drafted back into service when the star of a mega-budget studio movie—being directed by his ex, Jody Moreno, played by Golden Globe winner Emily Blunt (Oppenheimer, A Quiet Place films, Sicario)—goes missing.

While the film’s ruthless producer (Emmy winner Hannah Waddingham; Ted Lasso), maneuvers to keep the disappearance of star Tom Ryder (Golden Globe winner Aaron Taylor-Johnson; Bullet Train) a secret from the studio and the media, Colt performs the film’s most outrageous stunts while trying (with limited success) to charm his way back into Jody’s good graces. But as the mystery around the missing star deepens, Colt will find himself ensnared in a sinister, criminal plot that will push him to the edge of a fall more dangerous than any stunt.

Inspired by the hit 1980s TV series, The Fall Guy also stars Winston Duke (Black Panther franchise) and Academy Award® nominee Stephanie Hsu (Everything Everywhere All at Once).

From a screenplay by Hobbs & Shaw screenwriter Drew Pearce, The Fall Guy is produced by Kelly McCormick (Bullet Train, Nobody, Atomic Blonde) and David Leitch for their company 87North, and by Ryan Gosling and by Guymon Casady (Game of Thrones, Steve Jobs and executive producer of the upcoming series Ripley) for Entertainment 360. The film is executive produced by Drew Pearce, Entertainment 360’s Geoff Shaevitz and the creator of the original Fall Guy television series, Glen A. Larson.

Website: http://www.TheFallGuyMovie.com

BUFON (Y OTRAS HISTORIAS OPERISTICAS)

ALVARO DEL AMO

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MúsicaÓpera

Sinopsis de BUFON (Y OTRAS HISTORIAS OPERISTICAS)

Solía reprocharse a la ópera el absurdo y la inconsistencia de sus libretos, un tópico cada vez menos repetido, pues lo esencial del género operístico es el análisis, la expresión, la plasmación de la experiencia humana.

Las óperas hablan de la patria, el poder, la guerra. Hablan del caleidoscopio de emociones y sentimientos que el alma esconde y el corazón alberga, los lugares elegidos por el Bien y el Mal para celebrar su eterno forcejeo. Las tribulaciones del bufón Rigoletto, las combinaciones eróticas de las hermanas Fiordiligi y Dorabella, la tragedia de la geisha Butterfly, así como las proezas del famoso Don Juan no se clausuran y desaparecen al caer el telón. Sus dramas, trágicos o jocosos, permanecen vivos, susceptibles de ser prolongados por la literatura.

En cada una de estas historias, la ópera aparece como la visita que no es preciso conocer de antemano, en la confianza de que será debidamente presentada. Los enigmas de la paternidad, lo difícil que resulta averiguar lo que se siente, la virtud como atributo o antigualla, la moral cambiante según la época? un paisaje rico y variado que estos relatos recorren con libertad, tan lejos del homenaje como del pastiche.

Los personajes de hoy han heredado la secreta intimidad que animaba a las figuras de antaño, pero el desarrollo de sus peripecias tiende a desviarse del viejo modelo. Las lecciones de la catarsis ya no se encuentran en el melodrama. que hemos dejado de merecer, sino en los placeres de la invención literaria, facundia y lucidez que el espectador de una ópera puede compartir con el lector de un relato.