Two Times You (2020)
Two Times You
”Two cousins exchange husbands at a wedding and a car crash leads to a strange new relationship.”
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Why watch this film?
This is the second feature film directed by Mexican Salomón Askenazi since 'Ocean Blues' in 2011. We are dealing with a movie that is difficult to explain in terms of simple film genres (is it a drama? A psychological thriller? A fantasy? It has all of the above), so it's better to define 'Dos veces tú' as a powerful cinematic experience that you won't soon forget, a fascinating fragmented tale full of mystery in pure Lynchian style, which will surely remind you of 'Mulholland Drive' ('Dreams, Mysteries and Secrets'), or non-linear narrative films like Christopher Nolan's 'Memento'. The soundtrack and production design are also worth mentioning in this film, but the two protagonists take the cake: Melissa Barrera ('Club de Cuervos', 'Perseguidos') and Anahí Dávila, who turns out to be a true acting revelation.
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Plot summary
After an innocent game where they decide to exchange husbands during a wedding, cousins Tania and Daniela decide to drive back home with the husband of the other. One of the cars crashes and an odd couple survives, creating a new, strange relationship.
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From the same director
Ocean Blues
Independent Mexican movie with an experimental style that marks the debut as a feature film producer of Isaac Ezban ('The Incident') and Salomón Askenazi (who would eventually direct 'Twice You' and 'King of the Party'). 'Ocean Blues' is a metatextual experiment, based on a theatrical monologue performed by actress Isabel Piquer and directed by Xavier Villanova, who play the protagonists of the movie. This monologue is the backbone of the narrative, which oscillates between dreamlike images and passages in the lives of its characters, as their relationship changes. It is a love story that may seem simple, but told in an interesting way through an uncommon structure in Mexican cinema.
El rey de la fiesta
Dualities and hypothetical scenarios transformed into films are not strange to Mexican filmmaker Salomón Askenazi: in 'Two Times You', the director played with the idea of two women who swap partners for one night, and how their respective lives would unfold after one of them dies along with the other's husband. 'El rey de la fiesta' offers a similar premise: Héctor (Giancarlo Ruiz) is a shy and frustrated man in his 50s, who finds his extreme opposite in his twin brother, an extroverted man who lives in eternal partying. However, when this one seems to die in a plane accident during a trip he didn't tell anyone about, Héctor decides to take on his identity as a way to reinvent his life. Less anchored in metaphysics with lynchian aspirations than its predecessor, it's a film that plays with the identity of its protagonist, who becomes so ambiguous that it makes us wonder which of the two characters we are seeing. The feature stands out for Ruiz's acting work and its powerful images that play with reflections and duality, erasing the boundaries of identity.
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Winnie-the-Pooh: Blood and Honey 2
Winnie the Pooh: Blood and Honey 2 is the unlikely sequel to the feature film that placed the characters of this playful and childlike universe into a world of violence and horror. However, don't expect a production as weak as the previous film: with the success of the first installment at the box office, the production had more money to invest, and thus Winnie the Pooh: Blood and Honey 2 manages to be more realistic, violent, and impressive compared to the first film. The characters' masks are much scarier, and it ceases to be a complete joke. It's still difficult to take the film entirely seriously, especially with this bizarre premise of Pooh and his friends seeking bloody revenge, but you can already feel more fear and, above all, immerse yourself in the wave of violence that the film promotes. To have fun with friends.
Sleeping Dogs
Roy Freeman, an ex-homicide detective with a fractured memory, is forced to revisit a case he can’t remember. As a man’s life hangs in the balance on death row, Freeman must piece together the brutal evidence from a decade-old murder investigation, uncovering a sinister web of buried secrets and betrayals linking to his past. With only instincts to trust, he faces a chilling truth - sometimes, it’s best to let sleeping dogs lie.
