Hallucinate with Sean Penn's 3 best films

I've always thought that directing this brutal film, Clint Eastwood he did not know how to find the best ending when it happened right under his nose. The moment in which Jimmy Markum (Sean Penn) gets up from the sidewalk, early in the morning and with the last effluvia of alcohol subsiding before his hangover, he takes a few steps and points towards the street where the old childhood friend left for the downfall… That was the most bloody elegant ending to the movie and surely one of the roundest endings ever seen!

A little further behind him we see Sean Devine (Kevin Bacon) and together they could have stayed for a silence that could have lasted for minutes. Because in that strange absence of the third friend, Dave, from the day the wolves took him in that car until all the years he dragged afterwards, is everything that clouds the existence of the three children of yesteryear. An inevitable circle so that fate repeats itself in its cyclical evolution.

So that this entire message reaches us without explaining it, so at no time does Sean Penn's nonsense have much to do with it. All three do great, especially Robbins as a man traumatized since childhood. But Sean Penn eats everything in this movie. He is the man with a shady past, the father who would bite to death anyone who approached his family with bad intentions, the type of neighborhood that everyone fears, in the end the man defeated by circumstances who understands that he has been around all his life. that circle of perdition and regrets.

We were never angels

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This is surely not Sean Penn's most popular film. And yet, it was that movie that grabbed me for the cause of Sean Penn worshipers when I discovered it a few years ago. Precisely one of the biggest draws of him is for me the transformation of Sean Penn into a character contrary to the one he starts out with. Because from prisoner to priest it's a long way (perhaps not so much when things happen in the opposite direction). And Sean Penn makes us participate in the transformation, the growth of a withdrawn character with a dark point into a crystalline soul fully convinced of good.

This movie was a kind of remake with a more complex touch, of the homonymous movie from the 50s in which Bogart was looking for new registers in humor. And yes, in the sequel there is also humor. But the scenery changes from the hot Devil's Island to the coldest Canada and at the same time the plot takes new, broader courses. A tragicomedy a naive point but that for me has a lot of charm. Especially when Jim (Penn) releases that improvised speech for some parishioners who take him for a priest...

21 grams

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A slow movie in a good way. Because talking about death, about what we leave behind and what we take with us, requires a slow pace. We must understand that our last breath of 21 grams is the soul that escapes us to rise rocked by some warm friendly current. Destined to heaven or hell, depending on the life carried on behalf of posterity.

And even though it is necessarily slow, the movie overwhelms us as if its pace accelerated to the point of unbearability. Because we went from the physical to the impossible spirituality, to being rooted in this life and its heartbeats that we have left to count down. And then it all comes crashing down like a weird drop where we get to ponder the ending from the perspective of three sweeping characters, but especially one Penn who again makes it all wonderfully vivid.

A story of hope and humanity, of misery and survival, that explores the strong emotional and physical sensations of three characters: Paul (Sean Penn), Gato (Benicio Del Toro), and Cristina (Naomi Watts) united by an unexpected accident that makes that their lives and destinies intersect, in a story that leads them to love and revenge. 21 grams refers to the weight we lose when we die, the weight carried by those who survive.