There is something sinister elegance in the performances of Christoph Waltz. and our friend Quentin Tarantino he knew how to detect it immediately to the greater glory of this singular actor. Any scene takes on new dimensions in his hands in any pretense of psychological tension.
With Waltz, suspense or thriller is redefined. Because her smile draws a glimpse of humanity to finally break towards the starkest of punishments. At least that is the case in some of his most paradigmatic films. It is not a matter of Waltz pigeonholing himself because the roles are very different, but he transmits that imprint to all of them, that electric shock of the unpredictable, of a cruelty savored with pleasure by the most wicked minds transferred to the cinema.
Of course, it's not all dark characters in Waltz's repertoire. In fact, in some of his films his characters manage to play with that tragicomic duality to general confusion. Be that as it may, as a hero or antihero, Waltz is one of those actors who does not leave anyone indifferent.
Top 3 Recommended Christoph Waltz Movies
Damn bastards
AVAILABLE ON ANY OF THESE PLATFORMS:The incarnation of evil for Waltz in a film where the thirst for revenge takes shape as a long-awaited uchronic plan. Because Colonel Hans Landa is worse than Hitler himself. In his journey through the world he gathers all the cynicism possible to be able to live on one side or another depending on how his skin can be freer.
Scenes where his burlesque and deranged presence, ominous, nihilistic and aimed solely at sowing pain wherever he goes, end up carrying the necessary weight to a plot where Brad Pitt could be his most Machiavellian antagonist. Winners and losers sitting at the same table at the feast of violence.
As Europe bleeds to death during the Nazi occupation of World War II, a small battalion of vengeful Jewish soldiers under Aldo Raine are trained to perform a daring feat: assassinate Hitler and the highest officials of the German Third Reich.
The opportunity will present itself to them in Paris, during a screening at a movie theater that is managed by a covert victim of Nazi violence, Shoshanna Dreyfus. In complicity with her, the group of men tries to reach the capital of France through territory controlled by the Nazis, in a suicidal attempt to exact revenge against the "Fürher." Arousing suspicion among the German soldiers, bloody and memorable skirmishes await them before they can even get close to their objective.
Django unchained
AVAILABLE ON ANY OF THESE PLATFORMS:Tarantino has the ability to make movies within movies. Something like theatrical settings where a large part of the final minute of the film can take place and that at times become self-sufficient within the plot. And that it is not easy to keep the viewer's attention if the plot does not advance and the characters wander through a single room.
Waltz's scenes in this film confront us with racist and depraved violence. And this time it's up to him to star in a kind of hero against a DiCaprio which seems to have transformed into Waltz. That could be expected and, however, Tarantino beats us by turning the faces that represent good and evil on this occasion.
In Texas, two years before the outbreak of the American Civil War, King Schultz (Christoph Waltz), a German bounty hunter on the trail of assassins to collect on their heads, promises black slave Django (Jamie Foxx) to set him free if help him catch them. He accepts, because then he wants to go look for his wife Broomhilda (Kerry Washington), a slave on a plantation owned by landowner Calvin Candie (Leonardo DiCaprio).
big eyes
AVAILABLE ON ANY OF THESE PLATFORMS:The paradigm of the toxic relationship macerated with that evolution of the submissive years. Margaret's creativity subdued by the growing ego of her husband, Walter. He knows how to lead his wife, he knows how to exploit the goose that lays the golden eggs when her pictorial work is recognized as something very special in her time.
The point is that Walter becomes convinced, and does the same with Margaret, that he should be the one to take charge of the works. Who signs and who presents the exhibitions. In the big lie, Walter poorly buries his creative frustrations. Because deep down he knows that he is Margaret, that he is nobody, except a mere extraneous in the public eye. And so, what could have been a typical case of domestic patriarchy at the time, ends up taking on another dimension in this film.
Margaret Keane is a painter who was characterized by drawing children with extremely large eyes that broke the traditional harmony and proportion of the face to which the public was accustomed. Her work immediately caused a great sensation and became one of the first most notable commercial productions in the 50s, where for the first time success facilitated its access and increased its impact on a wider audience. number of people. The artist's work flooded the streets of the United States.
Despite her success, the timid artist lived in the shadow of her husband, who presented himself as the author of her works to the public and opinion. Margaret decides to take charge of the situation and denounces Walter claiming his rights and benefits and becoming one of the promoters of the feminist movement of the time. A story about a woman's struggle at a time when things were beginning to change around the world.