The 25 best actors of the 21st century (until now) - Infobae

We are living a golden age of acting, in fact, of platinum.To that conclusion we arrive when we decided to select our favorite film actors of the last twenty years.There is no formula to choose the best (only many discussions), and this list is inevitably subjective and perhaps scandalous for their omissions.Some of these actors are novel;others have been in the middle for decades.For our selection, we focus on this century and consider talents beyond Hollywood.And, although there are undoubtedly stars on the list and even a fewEITHERscar winners, there are also cast actors and chameleons, action heroes and treasures of art cinema. Ellos representan two5 razones por las que todavía amamos las películas, quizá hoy más que nunca.

two5.Gael Garcia Bernal

Manohla Dargis: When the suspense tape love dogs by Alejandro González Iñárritu and the road movie and your mother also from Alfonso Cuarón, they premiered in the art rooms of the United States with a year apart, the impact was seismic. Sus directores pronto se hicieron acreedores al prestigio internacional, al igual queGael Garcia Bernal, la revelación de ambos filmes.He had a gift, was magnetic on the screen and had a face that you could not stop seeing, this due to the fact that - with his innocent gaze and the marked line of his jaw - he fused with subtlety the female and masculine beauty.

This contrast was not very evident in Amores Dogs (twenty01), but helped to enrich and your mother too (twenty0two), a warmer and taller story about the step to maturity that begins with a cry of joy and ends with a sigh ofnostalgia.García Bernal plays Julio, a working -class teenager who undertakes a discovery trip (of himself and others).Together with his best friend (played by Diego Luna), Julio takes life lightly until he no longer.As the stridency of history is attenuated, replaced by an contemplation that the actor communicates very physical, the character retracts and becomes reflective.

For twenty04, García Bernal had already participated in Walter Salles motorcycle newspapers such as the young Che Guevara and played a misleading chameleon in Pedro Almodóvar's film, the bad education.Almodóvar put the actor in heels to play a femme fatale in the style of black cinema, a role that García Bernal did not like it very much but that gave more depth in his public image with a lipstick and a psychological coldness thatcaused a stir.

A.EITHER.Scott: In No (twenty13) by Pablo Larraín, García Bernal plays René Saavedra, a creative of advertising, young and successful, in Chile of the 1980s, with his usual charism.It has a wave, but it is not intimidating;It is handsome but accessible;It is funny, but without becoming hateful;He is sure of himself, but he is not a fanfare.At first, it is easy to underestimate both René and Garcia Bernal, confuse their casual and modest naturalness with a lack of seriousness or skill.René is recruited by a group of opposition political parties to produce television ads that promote the vote of the "no" in a referendum to decide the prolongation of the dictatorship of Augusto Pinochet.René's work is to sell rejection as an optimistic option, recognize the brutality of the Pinochet regime and, at the same time, focus on a happy future without him.Although René believes in the case, he also considers it a marketing challenge, and evokes a vibrates similar to Mad Men when he discusses with clients, colleagues and rivals.

García Bernal has the mission of embodying the dramatic link between the banalities of the media industry and the terror of political repression, and does everything almost exclusively with his eyes.One night, the department that lives together with his young son is vandalized while they both sleep, and at that time, René's animated determination is reduced to pure fear.The next day, he returns to work, and both he and his audience have a new and deep understanding of the meaning of their work.

two4.Sônia Braga

MANOHLA DARGIS: Hace poco volví a ver Aquarius (twenty16) para nuestra oda aSônia Braga.For those who have not seen her: Braga plays Clara, a writer whose apartment gives the Atlantic.Most of the story is about Clara, who lives her life while getting rid of her landlord.Braga fits perfectly into the wonderful and unpretentious realism of director Kleber Mendonça Filho.This time, while watching the movie, partly due to the title of the chapter "Clara's hair", I realized how Braga rearranged her opulent hair curtain.And, while I picked it up and then released it, I realized that Mendonça not only presented a character, but also to the legend who interprets it.

A.EITHER.Scott: it is a reminder - subliminal and shameless at the same time - that Braga was very important in Brazil and other countries in the 1970s and 1980s, the equivalent in his country of Sophia Loren.His films with Mendonça (Bacurau this year and Aquarius) are based on that story and exploit his classic charism.However, they are not just star appearances in the last stages of his career.Clara is not Sonia Braga: she is a very specific woman with her own history of achievements, love adventures and regrets.But only an artist with the total safety of Braga, his heroic indifference to what others think of her, could give life to Clara.

Dargis: However, what I thought of Aquarius this time is that Clara is also Braga, in the sense that the meaning of the character is partly made up of everything that Braga contributes whenever she is on the screen, including her story inBrazilian cinema as a woman of mixed descent, as well as her adventures in Hollywood.There is something fantastically liberating when seeing Braga in the role of that majestic woman, who has visible wrinkles and has never undergone a breast reconstruction after her mastectomy.That is especially true since Braga was once pigeped like a sex star."You can't tell him otherwise," he once wrote a critic.But that is not true, because we can say that he is an actress.

Scott: His ability is manifested totally differently in Bacurau, a film this year, an allegory that takes elements of science fiction and is delusioned fantastic (and violent), set in Brazil in crisis in crisis.It is a film that moves away from the realism of Mendonça's other works without abandoning his political passion or his humanism.Braga, which is part of a great cast that includes non -professional actors, is essential for the project.He plays Domingas, a doctor of a small town that suffers alcoholism and has a sometimes scathing personality, a paper without glamor, a comic character that no one else could have interpreted with such depth and grace.EITHER como dijo Mendonça: “En una sinfonía, ella sería el piano”.

two3.Mahershala Ali

A.EITHER. SCOTT:Mahershala Ali tiene uno de los mejores rostros del cine actual: unos pómulos sobresalientes, la frente alta y contemplativa y unos ojos con un dejo de melancolía.His presence in camera is magnetic, but also attentive and cunning.His characters tend to reluctance, caution, but his discretion is his own form of eloquence, his whispers resonate even more than any shout.

Ali ha ganado dos premiosEITHERscar a mejor actor de reparto.The first was by Luz de Luna (twenty16), a film in which a lasting stereotype of Hollywood silently demolished.Juan is a drug dealer, the image of community destruction and implicit violence;However, what defines him is his kindness and the unconditional goodness that gives Chiron, the young protagonist.Juan listens to the boy, answers his questions and, in one of the most moving scenes in the movie, teaches him to swim.

Then, between the first and the second act, it disappears, but Ali is still present in the movie even after its departure.Ali is both the tragic and paternal image of virility and the first man worthy of Chiron's love.

Manohla Dargis: Ali caught my attention for the first time in the Netflix House of Cards series.He played Remy Danton, a Washington lawyer whose cunning smile blinked as a warning, pointing out the danger in her world.Remy appeared in the second episode in a scene in a restaurant, where the main character, Frank Underwood (Kevin Spacey), is eating with two other influential men.Remy does not intimidate the sitting men, it imposes itself.You know that Underwood is problematic, but when director David Fincher cuts to Remy's face, Ali sharply modifies the atmosphere by changing her affable personality for a caution that brings the skin, making it clear that she is not talking to a man but with a predator.

I was so accustomed to seeing Ali with a suitable suit (and sometimes without him) that at first I did not recognize him in Luz de Luz.It was not only the difference in the costumes, but the precise bearing that Ali gave to each character, with variations in body complexion, of course, but also in the way those bodies move and what they represent.In House of Cards, Remy flows and there were times when I thought I was seeing the next James Bond.In Luz de Luna, Ali creates a titanic character whose strength, even after disappearing from the film, continues to resonate. El actor crea un personaje muy diferente en Green Book: una amistad sin fronteras (twenty18, el papel que le valió su segundoEITHERscar), esta vez con una actuación que supera a la película, donde Ali interpreta al músico Don Shirley como un hombre y una fortaleza protegida.

Scott: I would almost dare to say that the performance is the opposite of the movie.Ali is elegant, ingenious and aware of himself, while Green Book is clumsy, joking and does not distinguish her own brutalities.I'm not sure if any other actor could have handled the famous fried chicken scene with such dignity.The fact that Green Book: A Friendship Without Borders and Luz de Luna have been winning the Best Film Prize reflects the contradictions of our cultural moment, but that the subtle trade of Ali and its unwavering charismA proof of your talent.

twotwo.Melissa McCarthy

MANOHLA DARGIS: Cuando los críticos analizamos a detalle a los actores cómicos comoMelissa McCarthy, con frecuencia abordamos cualidades conocidas como el ritmo, la gracia y una fisonomía maleable, pero también hablamos de la actuación.Since he made the television transition to the cinema, McCarthy has demonstrated his acting range repeatedly and has stimulating stimulating to break down the retrograde ideas about who can be a movie star.No film has benefited as much as Spy: a clueless spy (twentyfifteen) in which he plays Susan, a shy analyst at the Central Intelligence Agency (CIA) that is sent to an extravagant mission that allows McCarthy to walk delicacy to theprinciple and then wave up wonderfully.

The way in which the film uses the conventions of the genre to show.Susan contains a multitude of personalities, first by way of self -protection (hides its inner strength) and later as an expression of its humanity.When he works in the field, he assumes several disagreement and tragic makeup (variations of how others perceive it) before becoming a sexy and provocative fantasy that she designed herself.While Susan releases his hair and disinhibits, McCarthy unleashes.His voice rumbles, his stirred hands become fists and his doll face becomes a jellyfish.McCarthy is not playing a single woman, but all of us, with all her energy.

A.EITHER.Scott: Lee Israel is funny.He shares a fast and intensely aggressive verbal ingenuity with some of the other McCarthy creations, such as Tammy in Tammy (twenty14) and Mullins in armed and dangerous girls (twenty13).However, Lee was a real person, and can you forgive me?(twenty18) is not exactly a comedy.Nor is it a biographical film, but rather a very specific sample of the “queer” and literary life of New York at the end of the twentyth century inside a film about a friendship between misfit converted into an adventure tape.

It is not easy for you to read or support it.It is corrosive, self -absorbed and self -lobby.He moves away from his friends and maintains a weak control of both ethics and sobriety.McCarthy resists turning her story (which includes exchange a failed career as a writer for a lucrative season as a falsifier of famous writers cards) into a parable of recovery or redemption.

It's about how he reads and his partner (the wonderful Richard and.Grant) bet on survival, rebeling against the destiny that an indifferent world has prepared them.The movie title raises a sincere question.Maybe you cannot forgive Lee for his failures and lies, his lack of consideration for the words and feelings of others, but there is no way you can forget it.

twenty-one.Catherine Deneuve

By Marjane Satrapi

With an extensive career in which he has worked with the best known authors in the industry, Deneuve has always symbolized a particular class of French elegance, whether he will play a common wife, an unfortunate restaurant owner or even an Iranian mother.That last role belonged to the movie Persepolis (twenty07).Deneuve gave voice to a character based on Marjane Satrapi's mother.We asked Satrapi, who directed the tape together with Vincent Paronnaud, who explained to us why he chose Deneuve.

Si vives en Francia,Catherine Deneuve es un ícono.When I was a child, I idolized her.He always made decisions that were very advanced to his time, was more anarchist than bourgeois.It has always been considered a very bourgeois Parisian, which is an absolute lie.She is a rebel who looks like a great lady.

Cuando conocí aCatherine Deneuve por primera vez fue como ver a Dios en persona.I was shocked.However, I had to direct her and I didn't dare to tell her anything.During the first two hours, I was totally paralyzed, and she reassured me.Like the woman so generous that she is, she told me: “You are the director and I am your actress.Tell what to do and I will ".He didn't say it in front of other people.He invited me to smoke a cigarette outside and there he told me privately.

For the mother's character I needed someone who wasn't like an eternal mother who is very loving, because my mother is not like that.My mother is a very pleasant person, but he also tells you: “Do this.Do the other ".I needed someone to have the power of a woman who wants her daughter to overcome [in life] and become more independent.Catherine Deneuve tiene una forma de hablar que no es juguetona, porque no intenta agradarle a la gente.It is very frank.When he speaks to you, he sees you directly in the eye.

Do not try to please people.It is very frank.

There is a scene in which I get home and my mother starts screaming at me: “Do you know what they do to the girls in Iran?You have to leave this country ".I remember that when he read those parliaments, the tone was not the indicated.He tried to contain himself as he usually does.I said: "No, Catherine, you're really on the verge of madness".He did it again and seriously cried.That was extremely moving.

And now, even after all these years, every time I see it I accelerate my heart.She is like a lion.It is not striking, it does not gestures.But, even if you are behind yourself and do not see her, it is perceived that there is a feline in the room.You feel very excited and at the same time very nervous.She is fierce and intrepid, and I love her.- Interview conducted by Kathryn Shattuck

twenty.Rob Morgan

A.EITHER.Scott: The great cast actors are teachers of the paradox, indelible and invisible at the same time.It is not necessary to recognize them from one paper to the next, but they leave their seal in each of the films, improving the whole even in small parts.

Si viste Mudbound: el color de la guerra, Monsters and Men, The Last Black Man in San Francisco y Buscando justicia —cuatro películas estrenadas entre twenty17 y twenty19—, sabes quién esRob Morgan, aunque no lo conozcas por su nombre.

As a prisoner sentenced to death in search.

In each of the other tapes, he plays a father, in the southern United States of the time of Jim Crow and the urban north today: a man who knows more than he chooses to say.In those films, children are the ones who speak most of the time, but Morgan gives them an eloquent expression to the experiences that are outside the main plot, but they land it in a larger story.In Last Black Man, he appears in a handful of scenes and says only a few dialogues, but everything that happens in that film is written on his face: the pleasures and disappointments of life on the periphery of an idiosyncratic city that changes quickly.He listens to, chews of sunflower seeds, play a few chords in an old organ and after spending a few minutes in his presence you understand exactly what you need to know.

MANOHLA DARGIS: Cada cierto tiempo, una pequeña película le da la oportunidad a un actor de brillar más y ser el centro de atención, y esto hace Morgan en Bull (twentytwenty) de Annie Silverstein.Morgan plays Abe, a former rodeo bulls with rigid joints, blood in the urine and a life that hits a thread.Now that his days of riding bulls are over, he works as a bullfighter, helping to protect the fallen riders.Fortunately, Abe's role is not overloaded with parliaments, so Morgan can define the character with a convincing interpretation, in which head inclinations, side looks and introverted presence express a painful past and self -protection instinctsof an emotionally retracted man.

Bull should only be about Abe, but instead it focuses on his relationship with a 14 -year -old white and uprooted neighbor, Kris (Amber Havard).His destinations cross unpleasantly after ABE discovers it by destroying his house, and takes the form of undeserved optimism that is fundamental in American cinema.In other words, Abe and Kris save each other.However, the film is saved thanks to the window that opens Morgan towards the black cowboy and how the interpretation complicates some of the favorite myths of the United States, including the figure of the Stoic and hardened lonely.Abe does not come rid of John Wayne's territory;Abe arrives riding from a completely different land that Morgan returns visceral, afflicted and totally alive.

19.Wes Studi

By Manohla Dargis

Wes Studi has one of the most striking faces of the screen: with prominent features, expression lines and topped with the type of penetrating eyes that insist that you hold their gaze.Minor directors like to use their face as a blunt symbol of the experience of American natives, as a mask of nobility, suffering, inscrutable pain just because nobody asks the man who carries it.In the right movie, Studi not only plays with the facade of a character;Peel its layers.Which teacher of expressive opacity, shows you the mask and what lies under it, both in thought and feeling.

Shows you the mask and what lies under it.

Studi became famous in cinematographic consciousness as the vindictive Guerrero Hurón in the epic tape the last of the Mohicans (199two) by Michael Mann, a character that the actor conveys with a powerful physical strength and intensity of feelings such as contempt, impatience, resentment and fury. Hacer mucho con poco ha sido una constante en la carrera fílmica de Studi, que incluye papeles significativos en El nuevo mundo (twenty05) y Avatar (twenty09).Like many other actors, it has its doses of work that have gone unnoticed, has made exploitation films and television programs of bad quality.He is often incorporated into the cast specifically as a Native American, has played Gerónimo and Cochise;He is likely to straighten many failed films if jeans were still fashionable. Y si la industria fuera aventurera, también podría interpretar más papeles como el del supervisor de un refugio para indigentes en Conociendo a Flynn (twenty1two), un hombre que no usa lo que Studi llama “pieles y plumas”.

Por cuestiones instructivas, no usa ninguna de esas dos cosas en Hostiles (twenty17) deScott Cooper, una película sobre la vida y la muerte a finales del siglo XIX.Studi plays the Yellow Falcon Chief, a prisoner on the verge of death to whom the federal government grants him to return to his ancestral lands.The film is mainly interested in his companion, an Indian odiat ruined by war, Christian Bale, the star.Again, Studi manages to play a distribution role that complements a main performance - his character's indifference to the anger of his companion is a wall that cannot go through - and helps equalize the balance of history.Yellow Falcon has survived enough to die in its own terms, a survival that Studi becomes a final act of composure.

18.Willem Dafoe

By Julian Schnabel

El actor ha sido una presencia vital en películas tan distintas como La sombra del vampiro (twenty00) y El proyecto Florida (twenty17), por las que recibió nominaciones alEITHERscar. También fue nominado por interpretar a Vincent van Gogh en la película biográfica de Julian Schnabel, Van Gogh en la puerta de la eternidad (twenty18).We asked Schnabel why he turned to Dafoe.

I met Willem more than 30 years ago.I had always lived in the neighborhood, and we had many friends in common.EITHERliver Stone estaba filmando The Doors en Nueva York, y una noche, estábamos merodeando por el plató, y esa fue la primera vez que comenzamos a hablar realmente.Something very important is that he is a very generous actor.Cares about other people's actions and helping them being available in whatever you are doing.It is very loyal and quite intelligent.If you work with someone who is intelligent, you can improve everything.

He is a very generous actor.Cares about other people's actions.

[For Van Gogh at the door of eternity] I needed someone who had the necessary character to play Van Gogh.And it was not only the physical resemblance.I needed someone to have enough life experience to be that subject.People thought, well, Willem is 60 years old, Van Gogh was 37 when he died.That was irrelevant to me.You have to allow your hearts to guide you to trust someone and think that you can do something.I trust Willem implicitly.And that degree of trust is mutual.

There is a footage that we filmed in Arles, after he arrived, but we couldn't use it in the movie.I had the same wardrobe, I had the same hairstyle, but it wasn't Gogh yet.Then a time happened when, suddenly, it was already the character.Had been transformed, transfigured.It was someone else.

One of my favorite scenes is when he talks to the young Doctor Rey, who treats him after his ear was cut and assures him that he will paint again when he is being held.That interaction is extraordinary, what Willem does there.Basically, it is sitting at a table and there is not much space to move.But what happens on his face, in his reaction to what the doctor is saying, and also his reaction to the thoughts that pass through his mind at that time, is a landscape of events and an inner life that reminds me of thefoaming from the cream of a vanilla shake.- Interview conducted by Kathryn Shattuck

17.Alfre Woodard

By a.EITHER.Scott

En un mundo justo, habría un listado larguísimo de actuaciones grandiosas para llenar este apartado, una antología de matriarcas, heroínas románticas, divas y villanas que reflejaran la amplia gama de dones que poseeAlfre Woodard.These types of papers always scarce for black actresses, but even in small papers in smaller -scale television films or series, Woodard is an unforgettable, majestic and at the same time deeply real presence.

Las dos películas que le han ofrecido mayor holgura —1two años de esclavitud (twenty13) de Steve MxQueen y Clemencia (twenty19) de Chinonye Chukwu— ponen el tema de la justicia bajo los reflectores.In these films, Woodard had to assert the dignity and ethical integrity of his characters in the impossibility of cruel circumstances.Bernadine Williams, the prison director in clemency, among whose responsibilities she is to supervise the executions of prisoners, she feels more and more than her professionalism is in contradiction with her humanity.In 1two years of slavery, Mrs. Shaw, a enslaved woman whose relationship with the owner of a plantation won him certain privileges, has agreed with a built system about her own dehumanization.

Woodard's art, his commitment to the truth, is what is seen.

The contradictions faced by Bernadine and Mrs. Shaw are larger than any individual.What Woodard achieves is to make them personal.Self -control is a matter of survival, and Woodard's face becomes the portrait of the decorum, by personifying the noble southern lady or the efficient bureaucrat that the situation merits.It is not so much that let the masks fall, except perhaps in the devastating final clemency scene, but rather shows the cost and care that requires carrying them.The characters are also acting, interpreting their roles with life at stake, and Woodard's art, their commitment to truth, is what is seen in space between what they seem to be and what they are.

16.Kim min-hee

By Manohla Dargis

La actuación exquisitamente matizada deKim min-hee es el eje de la película, y la actriz misma ha estado al centro de la filmografía de Hong desde entonces, pues ha aparecido en casi todas sus películas subsecuentes.As a consecrated author of independent cinema, Hong tells stories of a modest scale that are formally fun, sensitive to human imperfection and partisan of SOJU.In them common events happen, sometimes unusual.Repetition is usually a narrative approach, rooted in life and perfectly communicated by the lucid expressiveness of Kim.

In Hong's minimalist canon, life is summarized in everyday moments, in conversations and in the way the bodies bow and approach each other.The differences between the two halves of now, before they reveal new facets of the characters and create new tensions between them.Kim's histrionic range also release.And although the two sections of the film feel as variations of the same story, their performance seems to merge, well, ”smiles smile, with evasive and immovable looks - Kim joins the parts of the character in the same.

He has extravagant moments and other silent, he turns from the monster to the shy.

En La doncella (twenty16) de Park Chan-wook, su película más conocida, Kim optó por un método barroco.In this quirky drama, and often perversely fun, set in Korea in the 1930s, she plays a Japanese nobleman who escapes the perversion of her uncle thanks to her cunning and the help of another woman.The ostentatious excesses and narrative turns of the story allow Kim to exhaust all his arsenal. He has extravagant moments and other silent, he turns from the monster to the shy, y alterna entre ocultar los sentimientos de su personaje y dejarlos fluir sin mesura.His body shudders and his face deforms as fear and pain give way to ecstasy and liberation.The character is a mystery that the film hints, but that Kim reveals with delirium.

fifteen.Michael b.Jordan

By Ryan Coogler

Michael b.Jordan ha interpretado a abogados, atletas y superhéroes, pero incluso antes de que su rango actoral se hiciera evidente, el director Ryan Coogler quiso trabajar con él. Coogler ha hecho tres largometrajes (Estación Fruitvale, Creed: corazón de campeón y Pantera Negra) yJordan participa en todos ellos como protagonista o coprotagonista.We ask the director to explain what attracts us from the actor.

Conocí a Mike en twenty1two cuando estaba investigando y trabajando en el guion de Estación Fruitvale. Antes de conocerlo, decidí que él era la mejor opción para el personaje, con base en otros trabajos que conocía de él: un par de películas ese año (Red Tails y Poder sin límites) y un montón de cosas en la televisión, pero pensé que podría interpretar aEITHERscar.It looked like him, but I also noticed that I had the ability to make you feel empathy for him.Not all actors have this characteristic, to make you worry about someone immediately and that causes a reaction of empathy.He had it.It also has a very advanced set of tools as an actor.

I noticed that I had the ability to make you feel empathy for him.

He has participated in all the films I have made and I still choose it because it is the most suitable for work. Creed: corazón de campeón [twentyfifteen] tenía otro personaje que pensé que podría interpretar bien.Before being an actor, Mike was athlete in primary and secondary school.He had played athletes on television, the most famous character was that of Friday Night Lights, so we thought Mike was the one to do some of the things that his character would have to do in Creed.It was an aspect of him that did not represent more effort.

Y [en] Pantera negra [twenty18], verlo a él y a Chadwick combatiendo frente a frente se sintió como todo un suceso.The fame of both was on the rise and both had already been protagonists when we shot that movie.

Now, the exciting aspect of growing in the industry is to get to work together in different fields.Now he is doing many things behind the camera and we have some opportunities to work together, not only as an actor and director.

His ambition has an endearing quality.He always wants to test and challenge himself, which is perceived in his actions, but also in his notion of business.That ambition keeps him with an open mind.EITHERbserva todo y no quiere negarse a ciertos géneros u oportunidades.So I think heaven is the limit to him and his career.- Interview by Mekado Murphy

14.EITHERscar Isaac

A.EITHER.Scott: Although the last installments of the Galaxies War saga were not the most for me, I did foolish myself with some characters, particularly with Poe Dameron, the resistance pilot that is the most charming figure of the third trilogy. Como Poe,EITHERscar Isaac es una presencia atractiva y relajada en estas películas, pues es un sujeto que parece saber lo que hace.

His characters do not always have so much luck, or so much security, but the actor behaves with the precision of someone who trusts in his abilities enough to venture towards risky and unknown territories. El verano antes de que se estrenara Balada de un hombre común (twenty13), Joel e Ethan Coen nos dijeron que, en un inicio, querían que un músico famoso interpretara el papel protagónico de su filme. En lugar de eso, encontraron a Isaac, quien les dijo (según relató Joel) que “si le preguntas a un grupo de actores si sabe tocar la guitarra, la mayoría te dirá que toca desde hace twenty años, pero a lo que se refieren en realidad es que han tenido una guitarra durante twenty años”.Isaac knew how to really play.When I think what makes it so credible as an actor, that's the first thing that comes to mind. No porque tocar la guitarra sea algo muy importante, sino porque sea lo que sea que Isaac finja hacer en pantalla —vender combustible para calefacción (en la infravalorada El año más violento (twenty14); inventar robots sensuales (en Ex-Máquina); pilotear aviones de caza estelar— siempre creo que en verdad sabe hacerlo y que estoy viendo una especie de maestría auténtica en acción.

Manohla Dargis: When the actors cause a very deep first impression, sometimes they are linked to your notion of what they can do.After seeing ballad of a common man, I associated Isaac with a feeling of moving defeat, with a reticent resentment background. Algunos de sus otros papeles apuntalaban este concepto de aflicción inherente, entre ellos su interpretación de un alcalde asediado en la serie de HBO Show Me a Hero (twentyfifteen).This is partly due to its melancholic and romantic appearance, and in the way in which their eyebrows frame their sumptuous eyes under their long eyelashes.And then there is his voice, not only his beautiful bell but also that resonance that creates intimacy.Even when he resorts to nasal inflections, his voice retains a quality of proximity, that is one of the reasons why, when Llewyn sings, feels, or sounds, as if he did more for himself than for the public.Isaac's voice also softens its beauty and immediately captivates you.However, sometimes, as in the case of an ex-machine, he uses that intimacy for an insinuating, sinister purpose.

El papel de Isaac en Ex-Máquina (twentyfifteen) es secundario pero vital para el tono y el impacto de la cinta.He plays Nathan, a billionaire of the technological sector who develops artificial intelligence projects in Víctor Frankenstein's style, as he builds (and destroys) beautiful Android women.Nathan, a violently critical representation of the masters of the digital universe today, could have dominated the film without problems.Isaac, on the other hand, maintains its charisma under control and lets the character's chilling aura poison the environment.Nathan's emotional ups and downs along with his unexpected appearance - shaved, populated beard, prominent glasses and muscles - make it difficult to understand it at all.However, when he starts dancing out of nowhere and executing an amazing choreography, Isaac exposes everything you need to know about Nathan with the geometric precision of his movements and dementia in his gaze.They are 30 seconds of pure genius.

13.Tilda Swinton

MANOHLA DARGIS:Tilda Swinton, la mujer de los mil rostros ultraterrenales, ha creado suficientes personajes —con incalculables pelucas, disfraces y acentos— como para ser considerada un elenco de una sola persona.Swinton is a movie star, a character actress, an performance artist, an alien, a scammer.His pale and markedly polished face is an ideal canvas for paintings and prostheses, and is capable of transmitting a disconcerting calm.You want to decipher it, but you can't.That helps her to be a great villain, whether she is embodying a demon, a queen or a corporate lawyer. En Crimen repentino (twenty09), Swinton deja caer esa barrera para interpretar a una alcohólica y secuestradora de niños descontrolada, ofreciendo una actuación a tope que es tan visceral y transparente que se pueden ver los pensamientos del personaje en acción, como pequeños parásitos que se mueven debajo de la piel.

A.EITHER.Scott: we like to praise the actors for their "range", but that is an almost ridiculously inappropriate word for radical metamorphosis that Swinton achieves.It is enough to study a single aspect of his career: his work with Luca Guadagnino, a filmmaker who shares his pleasure for the reinvention of oneself. En Yo soy el amor (twenty10) Swinton interpretó a la esposa rusa de un aristócrata italiano y ofreció una actuación en dos idiomas y en un tono del más puro desamor melodramático. En Cegados por el sol (twenty16) apenas tuvo diálogos: Swinton decidió que sería interesante que su personaje de diva del rock glam hubiera quedado muda tras una cirugía de garganta. En Suspiria (twenty18), ejecutó una de sus muchas autoduplicaciones, apareciendo como miembro de un aquelarre de brujas adictas al ballet y también como un hombre anciano sobreviviente del Holocausto.

Dargis: That duplication shapes its most androgynous interpretations, in which genre with great ease blur, confirming thus (once again) how insufficient are categories such as "man" and "woman".She is both and none.EITHERtro tipo de duplicación ocurre cuando interpreta a gemelas, como en ¡Salve, César! del twenty16 (como dos columnistas de chismes rivales) yEITHERkja el siguiente año (como líderes industriales muy crueles y visualmente distintas). En cada uno de esos proyectos, Swinton nos muestra dos caras de la misma persona, tal como lo hace en Michael Clayton (twenty07) cuando la abogada que ella encarna ensaya un discurso engañoso frente a un espejo.When the lawyer speaks, he pauses and loses his smile, you see it desperately tried to control a reflection that is already cracking.

Scott: Those roles can be theatrical, but they almost never feel effective.Swinton has roots in an avant -garde tradition - at the beginning of his career he worked with Derek Jarman and Sally Potter - that emphasizes the mutability of identity and blurred limits between artifice and authenticity. Durante los últimos twenty años ha llevado parte del rigor intelectual y audacia conceptual de ese trabajo a Hollywood y más allá.Not only is it an exceptionally stimulating artist, but also one of the great living theorists of interpretation.

1two.Joaquin Phoenix

By James Gray

Joaquin Phoenix ha participado en cuatro películas del director James Gray, empezando por La otra cara del crimen en el año twenty00 e incluyendo Los dueños de la noche (twenty07), Amantes (twenty09) y El sueño de Ellis (twenty14).We ask Gray to explain how the actor has enhanced - and improved - his vision as director.

When I saw everything for a dream, I said, "that actor" - I didn't even know his name - "it's incredibly good to express his internal life without help from dialogue".That is a very important attribute in the cinema, because the camera reveals everything.He was an actor with a very deep sensitivity and was evident.I thought: "It's very interesting, I would love to meet him".So I did it.

We understood immediately.We like same things.We think very similar.So I liked it right away.I had that multifaceted character.In the first tape we made together [the other face of the crime], I am sure I made it angry on many occasions.I am very direct and that can be good, but sometimes not so much.I have already improved in that regard.Let's just say that I was not always willing to say: "Yes, that's interesting, but let's try this".Rather, he said: “Joaq, what are you doing?It was terrible, try something else ".I know that frustrated him because his talent was immense.

It has an unlimited ability to surprise you in the best way and inspire you to take a direction that you did not have planned, which is better for what you had in mind and that expands the idea.He is extremely creative, he is always thinking and, in fact, he has improved over the years.I have never said: "I want my vision on the screen".I want something better.The ideal is to establish the parameters of what you have in mind and then surround yourself with people who embellish him more.They won't do something necessarily different, but more intense and lively.

How to Know If the Temperature Is Safe to PlayEITHERutside https://t.CO/PNVR76VAZF

— Ementes Technologies Thu Jul 0two 07:36:14 +0000 twentytwenty

Has unlimited capacity to surprise you in the best way.

The best thing is that an actor surprises you in a way that is congruent with the character, but that it is also very interesting.Joaquin is fantastic for that, and is very inspiring.You don't know what to expect from him, in the best possible sense.Joaquin Phoenix es de lo mejor que me ha pasado en la vida.If I regret something, it's just not to have it in all the movies I have made.- Interview by Candice Frederick

eleven.Julianne Moore

A.EITHER.Scott: the unhappy American housewife - which smiles to keep appearances in the face of domestic tragedy and internal conflict - is a durable archetype of films. Es uno queJulianne Moore ha explorado y explotado en Las horas (twenty0two) y especialmente en sus colaboraciones con Todd Haynes como en Lejos del cielo (twenty0two).

That film takes place in Connecticut in the fifties, but it is a markedly stylized landscape, which evokes Hollywood melodramas of that period.Cathy and Frank Whitaker (Moore and Dennis Quaid) are away from their suffocating marriages for prohibited desires: Frank by other men and Cathy by Raymond Deagan, a black gardener (Dennis Haysbert).These transgressions are not symmetrical or intersectional.In their suffering, humiliation and longing, Frank and Cathy have no comfort to offer each other.

Moore could have placed the affliction of Cathy in quotes, evoke the divas of the melodramatic cinema of the fifties and throw a wink to the modern audience that contemplates everything bad of yesteryear from a safe aesthetic distance.Instead, he goes back in the background, looks out from the soul of a woman who is rooted in her time and is completely modern, trapped by the rules and appearances, and is also scary and excitingly free.

Manohla Dargis: unhappy or not, wives can be dead ends for actresses and for many there comes the time when they are forever banished to the kitchen.Moore has played many wives and mothers, but his are sometimes more complex and surprising than their films, an indicator of their sensitivity and talent. Una razón por la cual eleva a sus personajes por encima de los estereotipos es que los interpreta con códigos de realismo, ya sea una actuación naturalista (Siempre Alice, el melodrama de twenty14 sobre una profesora con alzhéimer) o una hiperbólica (Mapa a las estrellas, la sátira de David Cronenberg de twentyfifteen en la que interpreta a una diva de Hollywood).Moore can outsource the interior of a character in a beautiful way, so you can see the feelings to sprout on the surface of his skin.However, she is an extreme artist, and she and Cronenberg enjoy playing with her gaggola faces.

En gran medida, su actuación en Gloria Bell (twenty19) está en un tono realista.He plays the character whose name gives title to the film, a insurance worker divorced with a generous heart, two adult children, a former who does not hate and a painfully lonely apartment.The film itself is modest, intimate, deep and rich in human details.Gloria begins a romance with a man.Things do not work and end the relationship.It does not happen much in ordinary terms of a movie;However, everything happens because Gloria loves and is loved.It is a story that could have led to large amounts of tears and presumption.However, Moore and director Sebastián Lelio transcend the obvious.They do not simply believe a story about the feelings (and being) of a woman as she falls in love;They create a panorama of emotions, the texture and the form of a sensitivity.Moore's glory does not cry and laughs;It shows you how love looks from inside.It is a miraculous interpretation.

10.Saose ronan

By a.EITHER.Scott

¿De cuántas maneras distintas puede madurar una persona? Gran parte de lo que hacen los jóvenes en las películas es crecer, pero pocos actores lo han hecho durante tanto tiempo, o con tanto carácter, inteligencia y variedad comoSaose ronan.The actress has almost half of her life maturing in front of us (she is two6 years old) and with each role she assumes she becomes more wise, sadder, freer and more faithful to herself.

Of course it is almost always the characters who go through these changes. Eilis Lacey (Brooklyn: un nuevo hogar, twentyfifteen) encuentra amor e independencia en su nuevo hogar; Christine McPherson (Lady Bird, twenty17) aprende a apreciar a su madre; Jo March (Mujercitas, twenty19) descubre su voz como escritora.When inhabiting the skin of these women and girls with all their particularities, Ronan has maintained a disconcerting constancy, with a full and disciplined domain of their talent from the beginning.

He has maintained a disconcerting constancy, with a full and disciplined domain of his talent from the beginning.

En Expiación, deseo y pecado, la actuación que la dio a conocer en twenty07, interpretó a Briony Tallis, una niña perspicaz de 13 años que piensa que entiende más acerca del mundo de los adultos de lo que en realidad comprende.Ronan not only exudes Briony's same precocity, but also transmits the volatile mixture of child insecurity and romantic envy that makes this imprudent, demanding and not so innocent girl perceived as a genuinely dangerous presence.

Y esa sensación de peligro continúa, ya sea que sus personajes sean vulnerables (como en Desde mi cielo, twenty09) o violentos (como en Hanna, twentyeleven).Even when it appears in stoic dramas of time or gentle comedies about domestic life, Ronan provides unpredictable precision that is exciting and a bit disturbing to see.This is because, although it manages to capture the specific emotional state and body language of, say, a XVIScottish queen or a adolescent of California in the two1st century, which communicates with even more vitality is the way in whichThose people think, how it feels like being inside their minds.

That may sound like a very cerebral and intellectual acting approach, but in reality it is the opposite.The most radical and revealing ambition that an actor can conceive is to inhabit someone else's awareness and invite the audience to embark on that same parapsychological trip.This is more than just entering a paper until disappearing, or activating parallel memories methodically.It is a kind of self -generated reincarnation, as if Athena could be born not from his father's forehead, but his own.It can be something scary to witness, but genius is usually like that.

9.Viola Davis

ByDenzel Washington

Viola Davis ha trabajado conDenzel Washington varias veces en los últimos twenty años, ya sea como director (Antwone Fisher: el triunfo del espíritu, twenty0two), como coprotagonista (él en el papel de Troy Maxson, y ella en el de Rose Maxson en el drama familiar Barreras, de August Wilson, en Broadway y luego en la adaptación cinematográfica de twenty16) o como productor (él la eligió para el papel principal en Ma Rainey’s Black Bottom, el drama sobre la cantante de jazz Nancy Wilson que se estrenará próximamente).We ask him to explain what he does to the actress so extraordinary:

It is one of those talents that are seen only once in each generation.That is not always known immediately, but we have all confirmed it over time.When I worked with her in the work [barriers] even in the essays, I thought: "Ah, I see, it is a giant of the performance".He has a very important scene in which he is finally relieved in front of Troy;More or less in the third week of essays he showed what he planned to do, and I thought: “I better be up to his height.I have to concentrate".

We were incredibly well, so we never questioned who was going to play the role in the movie.And since she is a powerful, strong, but humble woman, the director [George C.Wolfe] had to convince her to accept [Ma Rainey’s Black Bottom's protagonist].I also had to do it.She said: "I don't know how to sing.I have no rhythm ”, and that kind of thing.

Can do whatever it is to propose.At that level your talent comes.

I fully trust her.Why did people want to play in a band with Miles Davis?Because he is a great collaborator, innovative and artist.She is the same. Can do whatever it is to propose.At that level your talent comes.It is one of the best characters interpreters with whom I have had the opportunity to collaborate.- Interview by Candice Frederick

8.Zhao Tao

MANOHLA DARGIS: Desde twenty00, la actriz chinaZhao Tao y el director Jia Zhangke han hecho más de doce películas y cortometrajes, obras de arte dramático y documentales, además de otro trabajo que no encaja a la perfección en ninguna clasificación.His film collaboration is so holistic and familiar that it is difficult to imagine how these films would be without the face and fundamental presence of Zhao.Many times we talk about his muse (they are married), but that statement does not capture at all the complexity of their contribution, with their poetry, symbolism and emotional granularity.

In JIA movies, people walk a lot, and nobody has accumulated more kilometers than Zhao, in general in real time. Zhao, que era maestra de danza, se mueve con gracia y fluidez, ya sea que sus personajes se desplacen por un salón (El mundo en twenty05) o recorran una escuela en ruinas (Ciudad two4 en twenty09). En Naturaleza muerta (twenty08), Zhao interpreta a Shen Hong, quien va en busca de su esposo a un pueblo viejo que quedará inundado debido a la controvertida construcción de una presa.Shen Hong appears several times in medium and long distance shots, but when someone asks if he is in a hurry, Jia focuses her in the foreground in an approach."Actually, no," he says, with an expression of sorry on the face, or perhaps having many memories, just before crossing the door.

The many Jia travelers draw the map of China a story after another, regardless of their literal or metaphorical destiny.Maybe it's why Zhao's posture seems so impressive.Although your characters do not have a clear direction, your back is firm.

A.EITHER.Scott: China's continuous transformation, evident in his fashion, his music, his economy, his architecture and topography, is the obsessive theme of JIA, and Zhao is his avatar and test case.It is a kind of common woman, that is, it personifies many different women, sometimes within the space of a single film.

En La ceniza es el blanco más puro (twenty19) interpreta a Qiao, que en un principio forma parte de una pareja de gánsteres en Datong, una ciudad industrial del norte.Like his lover, Bin, he is intrepid and glamorous, although Qiao, through his father, has connections with an ancient world of political bodies composed of workers and proletarian resistance. Es el principio de la década de twenty00, y todo en Qiao (su cabello, su ropa, la forma en que se desenvuelve tanto en clubs relucientes como en fábricas maltrechas) expresa confianza en la modernidad y su lugar en ella.

So his world collapses.For his loyalty to Bin he ends in jail and when he is finally released, he has disappeared.Her trips, on a boat, on foot, on a motorcycle and rail, take her in a long and strenuous odyssey back to her starting point.He suffers without stopping, but his stoicism gives him an almost comic touch at some times, as if he were at the same time the heroine of an old Hollywood melodrama and the protagonist of a work by Samuel Beckett.His performance is a wonderful deployment of imperturbability, with well -planted roots on earth but, in a sense, lush.

7: Toni Servillo

By a.EITHER.Scott

Toni Servillo quizá sea mejor conocido entre la audiencia estadounidense por La gran belleza (twenty13), la aventura galardonada con el Óscar en que Paolo Sorrentino explora las decadentes costumbres de la élite cultural de la Roma moderna.That film could be classified among the shows described by Pauline Kael as parties "for people disguised by the European sick soul".It is starring Servillo, who plays a writer with few achievements but a huge reputation that becomes the teacher of the rebels.With his handsome wrinkled face and impeccable outfits, Servillo suggests a more established version of the young man who rubshedonism.

If we examine in more detail the collaboration of Servillo with Sorrentino, we discover something more intriguing and substantial than beauty.Both have worked together in five productions, including Sorrentino's debut as director, the man of more, and have developed a symbiosis that evokes some of the greatest collaborations between actor and director of the past: Martin Scorsese and Robert de Niro;Vittorio de Sica and Sofía Loren;John Ford and John Wayne.

However, these analogies are insufficient.Servillo has been the central avatar in the excavation that Sorrentino of corruption and hypocrisy has undertaken (although also the improbable glory and absurd resistance) of modern Italy. En particular, ha encarnado a dos de los líderes políticos más poderosos y polarizantes de la vida real en la historia reciente del país: Giulio Andreotti (en la escabrosa y satírica película Il Divo de twenty09) y Silvio Berlusconi (en la película épica y curiosamente sensible Loro, de twenty19).

Appreciate the dimensions of this achievement requires another round of analogies. Imaginen que el mismo actor interpretara a Richard Nixon y BarackEITHERbama, o a Winston Churchill y Margaret Thatcher.Andreotti, Prime Minister seven times and the main engine of the Christian Democracy Party that remained a long time in power, was a notable secret, cunning and missing operator almost to a challenging degree.Berlusconi, also a series prime minister, was a deployment of arrogance and charm, of such a deafness that caused rejection among Italians, but whose infinitely magnetic personality attracted others.

Neither il divo nor parrot are conventional biographical films, and Sorrentino is no realistic.These films are delighted in the Theater of Power, and Servillo, characterized with a grotesque artificiality makeup, sometimes it looks like a puppet or a political cartoon.Emphasize the viperine cunning and secret vanity of Andreotti, and the lack of sincerity and self -pity of Berlusconi.Even those who do not know the sordid traditions of Italian politics can perceive the tremendous comic energy of these actions, as well as the moral zeal behind them.They are real people!These horrors, murders, bribes, betrayals, orgies...They really happened!

He manages to make extravagant humanity, as well as the deep misery, of men who dedicate their existence to subjugate the world at will.

But Servillo's art goes beyond just presenting a higher quality comic satire.Like a Shakespeare actor, he immerses himself in the majesty and monstrosity of ancient or imaginary kings, he manages to make extravagant humanity vivid, as well as the deep misery, of men who dedicate their existence to subjugate the world at will at will.As if that were not enough, he also captures his loneliness.

6.Song Kang Ho

By Bong Joon Ho

El actor coreanoSong Kang Ho probablemente llamó por primera vez la atención de la mayoría del público estadounidense en Parásitos, la ganadora delEITHERscar a mejor película de twentytwenty, en la que interpretó a un patriarca empobrecido y confabulador.That was his fourth collaboration with director Bong Joon Ho.That is why we ask the filmmaker to explain why he has chosen the star again and again.

La primera vez que vi aSong Kang Ho fue en Pez verde, el primer largometraje del director Lee Chang-dong.There he played a rural and little mounted gangster, and his performance was so surprisingly realistic that he generated the rumor among filmmakers that he was a real criminal.Then I knew he was an actor who had been a lot of active time in the theater scene of Daehangno.

Although at that time I was a management assistant and I still did not direct, I wanted to meet him.So in 1997 I invited him to have coffee at the office.It was more a casual conversation than an audition, but I immediately realized that I had the elements to be a titan.

Mientras escribía mi segunda película, Memorias de un asesino (twenty05), tuve a Song con firmeza en mi mente para que interpretara al detective rural que está estancado en sus viejas costumbres y tiene fe ciega en sus instintos.Song was born for that role and that role was created for him.

Ya sea en Memorias de un asesino, El huésped (twenty07), El expreso del miedo (twenty14) o Parásitos, siempre hay una sensación de que habrá una nueva capa que descubrir.It's like a canvas that does not stop growing.Regardless of how many brushstrokes apply, there is always more space to paint.I am still excited to see what will contribute to a role.For me, Song is like an inexhaustible diamond mine.Whether I have made four films with him or 40, I know that I will always discover a new character.

Song has the ability to give life and rawness to every moment.Even if a scene involves a difficult dialogue or a very technical camera work, it will achieve a way to get it impeccable and spontaneous.Each shot will be different, and even the most rigid dialogue will seem an improvisation.It is amazing, and it is a pleasure to witness it.

Has the ability to give life and rawness at every moment.

Its originality as the protagonist comes from their daily life and worldness.Especially for the Korean public, Song projects the quality of the typical Korean worker man, a neighbor or friend who could find yourself in your neighborhood.That is why they are even more absorbed when they see this apparently everyday character face a monster or a monstrous situation in films such as the guest or parasites.

Song part of the ordinary and elevates it to a unique and inimitable voice. Creo que eso es lo que hace queSong Kang Ho y los personajes que habita sean genuinamente especiales.- Interview by Candice Frederick.

5.Nicole Kidman

By Manohla Dargis

Artista, princesa, escritora, musa,Nicole Kidman ha interpretado todo tipo de personajes, con cabello corto y largo, con una enorme nariz falsa, y un fantástico y pronunciado mentón.His smile is as bright as the sun and his crying so true that it makes you want to pass a scarf box.In popular cinema, realism is the currency with which the actors trade, an aesthetic choice that helps to turn artifice into something similar to real life.For Kidman, a miniaturist with a precise touch, creating that realism sometimes involves hiding beauty (for paper, not for awards) that has always defined it.It also means that he constantly plays with femininity.

Kidman entró al siglo XXI en la cúspide de su estrellato con Moulin Rouge! (twenty01). Después de esta cinta vino una serie de otros vehículos de alto perfil, el más destacado fue Las horas (twenty0two), en la que interpretó a Virginia Woolf (ahí necesitó la nariz prostética) y se llevó unEITHERscar. La película fue el equivalente a un bostezo respetuoso que Kidman sucedió con un papel protagónico en Dogville (twenty04), de Lars von Trier, un ejercicio dialéctico y calculadoramente abrasivo en el que su personaje, tras se abusada, toma un arma y ayuda a destruir un pueblo.Apparently, Kidman really enjoyed that part.

Since then, he has participated in more than 40 films, some are memorable and others are better to forget them.As in the case of other actresses, Kidman's popularity has sometimes overcome his profitability, which has created a type of fame that has to do less with the box office and more with a famous figure that uses his mileage on the carpets on the carpetsReds and a superabundance of fashion magazines covers.There were years in which his films arrived and left without anyone noticing.However, Kidman continued to work incessantly, raising vimio material and challenging herself, although the films did not do it.He has also played many mothers, a necessary survival strategy in a world as little creative or imaginative as the film industry.

One of the pleasures of seeing a virtuous artist is to notice how they overlap the material with which they work. Kidman ha hecho esto en repetidas ocasiones, como en Reencarnación (twenty04), en la que interpreta a una viuda que llega a creer que su hijo de 10 años es la reencarnación de su difunto esposo.It is a pretentious nonsense that Kidman beautifies with delicacy and gives emotion. Su actuación es simplemente gloriosa en Amores peligrosos (twenty1two), una cosa exquisitamente vulgar en el que ella opaca a una cohorte de hombres fanfarrones, pues alterna entre orinar encima de Zac Efron y desgarrar sus medias en un frenesí orgiástico frente a John Cusack.

You can't take your eyes off ... never.

Más recientemente, Kidman protagonizó Destrucción (twenty18), un filme de suspenso crudo de Karyn Kusama acerca del prolongado declive de una detective.Kidman has quirky and brutal moments - golpea, runs, shoots and drinks with a wild excess - in her interpretation of a medium -sized woman whose terrible decisions are marked in each fold and stain of her gloomy face.The movie failed at the box office, perhaps because it was too unpleasant for today's spectators or perhaps it seemed very second -hand for one of the favorite cover models of Vogue magazine.However, Kidman is radiant, cold, raw and real.Even when his face becomes an almost unrecognizable degree, his talent is still undeniable. You can't take your eyes off ... never.

4.Keanu Reeves

By a.EITHER.Scott

Tal vez te sorprenda encontrar aKeanu Reeves en uno de los primeros lugares de esta lista.But ask yourself: Have you ever felt disappointed when he appears in a movie?Can you name a movie that has not improved with its presence?We are talking about Ted Logan.Of neo.Of John Wick. Del interés amoroso de Diane Keaton en Alguien tiene que ceder (twenty03). Del interés amoroso de Ali Wong (¡un chico llamadoKeanu Reeves!) en Quizás para siempre (twenty19).Certainly there is no other film star that exhibits so much rank while it is still irreducible and inscrutable.

Can you name a movie that has not improved with your presence?

However, curiously, he has been easy to underestimate. Como casi todo en la década de los noventa, el aprecio aKeanu Reeves en las primeras etapas de su carrera estuvo rodeado de ironía.It was too easy to make fun of the inexpressive and solemn confusion that defined his characters at the point of break, the lawyer of the devil and the Matrix saga, project his lack of expression on him, and assume that his stagnant waters were shallow.Although he was always aware of the jokes about it.And for him it was not a joke.In the middle of his life, he has risen to a new level of achievements, an area where the lack of art and shyness converge.It is one of our most convincing action heroes and also one of our most inventive actors with greater resources.Everything has resisted in a beautiful way, it has become more sad and more playful without losing the ethereal innocence that was there from the beginning.

Is the role of the melancholic murderer, in love with his wife and dog lover in the John Wick saga is a falsification of the genre, a work that only does for money, an exercise routine for the median age?Probably.Of course.With someone like Gerard Butler in the leading paper, he would be disposable, agile and disgusting films.What Reeves does is give the franchise more weight than he deserves, more humor than he needs and the soul that, otherwise, would not have at all.

One of the delights of watching movies during the past decade has been to find it in unexpected actions. Como un tipo de líder de un culto post apocalíptico conocido como el Sueño en The Bad Batch, la película de fantasía distópica de twenty17 dirigida por Ana Lily Amirpour. Como la antítesis de Winona Ryder en la mordaz anticomedia romántica Destination Wedding (twenty18) dirigida por Victor Levin. Como la voz de un gato llamado Keanu en Keanu (twenty16).

This man is more than the sum of his parts, which are puzzles and koanes, chapters in a manual that is evidently updated to dominate metamodern cinematographic stardom as a way of being.It is not a perfectionist.It is perfection in itself.They told us a long time ago and now maybe we can finally believe it: he is the chosen.

3.Daniel Day-Lewis

By Manohla Dargis

Al inicio de Petróleo sangriento (twenty07), un hombre metido en un profundo y oscuro agujero golpea rítmicamente el muro con un pico, produciendo chispas y polvo.It is so little illuminated that it is difficult to appreciate your face well, but its pale shirt attracts your attention and reveals the contour of its powerful arms and mechanical movements.You can only appreciate the man well when he raises his head towards the sky and the light illuminates his face. Contemplen a ese hombre, ¡contemplen aDaniel Day-Lewis!

It is an introduction as iconic, defining and dignified of stardom like Rita Hayworth in Gilda.It also works as a beautiful metaphor of the thorough act of the creative process of Day-Lewis, the construction of its characters.Like Daniel Plainview, Day-Lewis is not simply playing the protagonist;He is giving a human form to the ideas and art of the filmmaker Paul Thomas Anderson.Plainview is many things: a man, a machine, a terrible father, a voracious oil tycoon.It is also the manifestation of the ruinous substance, the "oil ocean", which violently starts from the earth.

Day-Lewis is one of the most venerated actors of the last 50 years with a reputation based on its dazzling filmography and covered by an aura of greatness that almost reaches a mystical level.The preparation of her characters, well publicized, and the insistence of remaining in her character during production have become legendary characteristics, which generates enthusiastic headlines and feeds the fetishism of her followers.The repeated announcement of his retirement increased his aura, as well as his selectivity: he has made only six films in this century, and some are masterpieces.Like the exotic centenary plant, a perennial plant that blooms spectacularly only once, Day-Lewis knows how to cause us and how to give a show.

Day-Lewis knows how to cause us and how to give a show.

The legend that has been built around it is, to some extent, only one version of the era of the method of action of that mythification that has always been part of the creation of a star. Lo que a veces pasa desapercibido es que leer más de 100 libros con el fin de prepararse para el papel protagónico de Lincoln (twenty1two) es trabajo arduo, y forma parte de la preparación de un actor.All that work and all these books are a reminder that the performance is also a trade, not magic, even when an actor's interpretation seems, or rather, he feels almost alchemical.Part of Day-Lewis's talent is his tremendous ability to work hard in a character that satisfies the director's vision.

Much depends on that vision. Y sobre ese tema debo mencionar, lamentablemente, a Nine, una vida de pasión (twenty09), una locura catastrófica a la que Day-Lewis sirve diligentemente pero que no logra salvar. En Pandillas de Nueva York (twenty0two), en cambio, su interpretación como Bill el carnicero es la apoteosis de las ambiciones de esa película, así que cuando no está en pantalla, la película trastabilla.Day-Lewis art is one of osmosis between him and the directors. Y hasta la fecha, sus dos actuaciones más logradas han sido en las dos películas que ha hecho con Anderson, la más reciente El hilo fantasma (twenty17), cuyas bellezas, profundidades e idiosincrasias son absorbidas por Day-Lewis, quien las transforma y refleja de manera brillante.

two.Isabelle Huppert

MANOHLA DARGIS: Intrépida e hipnotizante, a veces aterradora, a veces extraña,Isabelle Huppert ha interpretado una variedad impresionante de papeles en el transcurso de su carrera.It has passed without any effort of tears to the screams, of the most stable stories to the most gloriously crazy.He has acted in more than 50 films only in this century, a diligence that reflects its ambition and popularity, but also suggests a voracious hunger that can be seen in its performance.I love many of their interpretations, but what captivates me most are their monsters, the spooky and atrocious women who have embodied.

A.EITHER. SCOTT: ¿Alguien dijo La profesora de piano? Esta película de twenty0two es un retrato magistral y escalofriante de lujuria, crueldad, masoquismo y talento musical.The main character, Erika Kohut, becomes obsessed with a student, and Huppert personifies his descent to madness with mathematical precision and an operational intensity.Does we fear what I can do or what may happen to you?

Huppert is an expert in this type of ambiguity, in mixing the usual codes of feminine female vulnerability and feminist assertiveness, in challenging the assumptions about the origin of the strength and fragility of a woman. Uno de mis ejemplos favoritos de esto se ve en Borrachera de poder (twenty07) de Claude Chabrol, en la que interpreta a una jueza que erradica la corrupción en la élite política y empresarial de Francia, y se enfrenta a una red de amiguismo poderosa y arraigada.The character of the character is Jeanne Charmant Killman, who may seem a bit obvious, but also captures the elegant and lethal attraction of Huppert.

Dargis: the papers that have been offered to Huppert and those she has sought have been crucial for her training.In addition, in the beginning, he worked with filmmakers-Jean-Luc Godard, Maurice Pialat and, of course, Chabrol-who gave him creative freedom to develop his skills.I would never have been able to forge a similar trajectory in American cinema..

Huppert is known for taking advantage of the extremes, although I consider it an interest in the fullness of existence, even the disgusting and the taboo. Sus personajes están llenos de vida, algunos de manera desagradable, como en Elle (twenty16), la cinta provocadora de Paul Verhoeven sobre el trauma y la psicosis.The actress always surprises (I suspect that, otherwise, she would get bored), but in this film, as a woman who faces male violence, Huppert achieves something that almost never happens in the movies: shocking.With a lacerating ingenuity - their strange smiles make fun of the religiosity of the audience - converts the mystery of another person in suspense.I love that it forces me to see even when I don't want to do it.

SCOTT: ¿Alguien dijo La viuda? Ese fue un filme de suspenso flojo de twenty19 en el que Huppert interpretó a una acosadora psicótica con un complejo maternal que acecha a una ingenua estudiante universitaria interpretada por Chloë Grace Moretz.I mention it just because that kind of mystery to which you mean - the volatile mixture of ingenuity, charisma and will - dominates this film, that Huppert becomes more intriguing than it would have been without it.Makes it more fun and sinister.

No other actor matches its combination of intensity and control. Esto es más evidente en cintas en las que su personaje está en una lucha desesperada por sobrevivir, como en Materia blanca (twenty10) de Claire Denis.Huppert plays a French owner of a sowing that clings to the last trace of colonial privilege that has been left in an African country convulsed by violence.She knows that her life is in danger, that her lifestyle is disappearing, and also that, in the general historical scheme, her destiny may deserve.It does not express any self -pity and very little drama in the conventional sense.It is pure courage.

1.Denzel Washington

A.EITHER.Scott: we fight and discuss all other positions on this list, but there was no doubt or debate about who the number one would be.

Denzel Washington cannot be classified in any category: a screen titan that is also a subtle and sensitive craftsman, with an old theatrical formation and an implacable presence as a movie star.You can embody texts by Shakespeare and August Wilson, and interpret evil, or heroism in an action movie.It is also, par excellence, one of those actors that evokes a normal guy. ¿Quién podría olvidar a los trabajadores honestos y asediados que interpretó en Imparable (twenty10) y Rescate del metro 1two3 (twenty09), un par de películas extravagantes y ruidosas sobre trenes, dirigidas por TonyScott? Ninguna fue una obra maestra, pero nunca me canso de ver a Washington en el trabajo.

Manohla Dargis: makes work - and I mean acting - it seems as organic as breathing.With just reason it was perfect for the role of Easy Rawlins in the demon dressed in blue ”, which announced it at the beginning of his career.Since then, he has interpreted many characters that represent the law or criminality, and some that exist in the space that divides both concepts.In that course, it has become the dominant totem of a certain type of male authority, such as John Wayne and Clint Eastwood before him.Washington can express an anguished vulnerability, but it can highlight as a colossus and sift over worlds as a patriarch of the Old Testament, this is extraordinary if the representations of black masculinity that were seen on screen are considered not long ago.

Scott: That authority is credible, although movies ... are not so much. ¿El libro de los secretos (twenty10)? ¿El justiciero (twenty14)? ¿Hombre en llamas (twenty04)? Uno de los aspectos que más aprecio de él es la magnificencia con la que interpreta a hombres que no parecen necesitar o siquiera merecer amor. Por ejemplo, Whip Whitaker en El vuelo (twenty1two), un prodigioso piloto de aviones comerciales que también es un desastre épico en lo personal.It is not a good guy, but it is the most complex human being, deep and clearly made that you will see on a movie screen.

DARGIS: Al igual que todas las estrellas, la actuación de Washington parece estar ligada de manera inextricable a su carisma, una combinación seductora pero que puede ser abrumadora en ciertas películas, como la violenta obra comercial Día de entrenamiento (twenty01) de Antoine Fuqua.Washington is sensational as a bad detective: he looks relaxed, sexy and scary, but his presence is so huge that he shrinks to the film.On the flight, his magnetism adds depth to the tragedy of his character;He gives his walk, but he is also part of his weakened facade. Son pocos los papeles que exigen lo mejor de Washington, sin duda no están en las cintas que hizo con dos de sus directores favoritos, Fuqua yScott, quienes crean mucha conmoción que Washington adopta —y focaliza— con mucha comodidad.

Scott: Perhaps a measure of its power is the constancy with which your performance is better than the films in which it appears.Among his extensive filmography of excellent performances - the coaches and the police, the gangsters and the lawyers - there are a few monuments that demonstrate this immense talent in all their splendor. Malcolm X es uno de ellos y Troy Maxson en Barreras (twenty16) es otro.There is so much pride and pain in that interpretation, which somehow contains all the weight of American racism in the soul and body of a single person, without turning it into a symbol of anything.The way in which Washington walks in that film, swinging his shoulders with the strength of an athlete, with a position affected by an arduous work life, is a moment of pure carnal eloquence, coupled with the row of vernacular poetry that comes out of his mouth.

Dargis: It is well known to overcome your own films is a distinctive seal of real stardom!The actors choose papers for many different reasons - anadh, availability, preference, comfort, remuneration - and the race always influences, always.Washington likes to interpret characters with clear objectives and men who cause deep impression, with a weapon, with physical excesses or with words.He likes to act big.I could make art cinema and provocative independent films, but it does not.Maybe he is not interested;No doubt he doesn't need it. Después de todo, esDenzel Washington, una estrella cuya trayectoria —en su longevidad y predominio— es un correctivo y una reprimenda a la industria racista en la que trabaja.I imagine that you are doing exactly what you want.

Keep reading:

Las estrellas de Hollywood que no aceptaron ser Forrest Gump, Mujer bonita, Marty McFly y Terminator¿El trabajo soñado?: ofrecen two.500 dólares por ver two5 películas de navidad en two5 días