Gertrud
Gertrud

Gertrud

Audio y subtítulos

Versión en Español

Versión Original con Subtítulos en Español

País

Dinamarca

Año de producción

1964

Estreno en cines

15/12/95

Recaudación

39.556,84 €

Espectadores

38 422

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IMDB

Sobre la película

Gertrud es una mujer madura e idealista que busca el amor absoluto, con mayúsculas, pero sus experiencias sentimentales se ven siempre abocadas al fracaso. Decide separarse de su marido, un eminente político, porque él antepone el trabajo al amor. Se enamora de un joven músico que empieza a cosechar sus primeros éxitos, pero para él, que sólo piensa en sí mismo, Gertrud no es más que una aventura pasajera. Por otra parte, un antiguo novio poeta reaparece en su vida con la pretensión de que reanuden su antigua relación.

Dirección y reparto

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  • Avatar de wringer91

    wringer91

    Menuda joya. Siempre es un placer encontrarme con cine que me sorprenda.

    9 9 hace 4 meses
  • Avatar de gurov

    gurov

    Le he puesto un 10, porque Dreyer le pondría un 9,5.

    10 10 hace 6 meses
  • Avatar de karlo

    karlo

    Cada pieza de la obra dreyerniana es una ventana a la raíz de la condición humana y sus existenciales, exige educar el ojo par lo exquisito llamado de su cámara, sus encuadres, secuencias... una sensibilidad para lo poético..narra el amor si se quiere por el filtro de la espiritualidad y su drama puesta en escena..gracias filmín por la calidad de su muestra...nota 10

    hace 1 año
  • Avatar de alfonsonorte

    alfonsonorte

    Según Gertrud, amor omnia, es decir, la soledad, la libertad y el amor son compatibles. Pero no todos pensamos lo mismo...

    9 9 hace 2 años
  • Avatar de ethan

    ethan

    Le pongo un 10 porque no puedo ponerle más.

    10 10 hace 2 años
  • Jonathan Rosenbaum

    de Web oficial

    There are narrative and nonnarrative ways of summing up a life or conjuring a work of art, but when it comes to analyzing life or art in dramatic terms, it is usually the narrative method that wins hands down. Our news, fiction, and daily conversations all tend to take a story form, and our reflexes define that form as consecutive and causal — a chain of events moving in the direction of an inquiry, the solution of a riddle. Faced with a succession of film frames, our desire to impose a narrative is usually so strong that only the most ruthless and delicate of strategies can allow us to perceive anything else. Carl Dreyer allows us to perceive something else, but never without a battle. The nonnarrative specter that haunts the narrative of GERTRUD (1964), contained in the figure of Gertrud herself, is threatened at every turn by dogs snapping at her heels — a narrative world of men with pasts and futures who stake a claim on her. But Gertrud, who lives only in a continuous present, persistent and changeless, eludes them all. And if she eludes us as well, this may be because our narrative equipment can read her only as a monotone — an arrested moment (as in painting) or a suspended moment (as in music) that can lead to no higher logic. Yet from the vantage point of her refusal to inquire, she has a lot to say to the men. To arrive at the nonnarrative side of GERTRUD — the static essentials that no amount of narrative fide can wash away — it is useful to consider the life and art of Dreyer as well We can begin, in fact, with the stories of two men and four women — Dreyer, Hjalmar Söderberg, Josephine Nilsson, Marie Dreyer, Maria von Platen, and Gertrud — only one of whom is fictional. Starting with these family plots, we can, I hope, reach those aspects of the film which eschew plot altogether.

    9.5 9.5
  • Redacción

    de Time Out

    Dreyer's last film was adapted from a 1919 play by Hjalmar Söderberg, but it remains one of the most purely cinematic discourses of the 1960s. Its forty-ish protagonist rejects the compromise of her marriage, but suffers disappointment in her younger lover and retreats into a serene isolation. Dreyer directs his actors into performances that are understated to the point of stillness, and composes shots with a daring economy of decor and design; he also slows the overall pace to a contemplative minimum. At the same time, though, he explodes the film's syntax (consecutive shots that don't quite match; camera movements that are never quite resolved), so that the placid surface is undermined by a quarry of tiny fissures. Similarly, the spiritual serenity of the subject is built upon an aching sense of emotional pain - and the fact that it's only half-articulated makes it all the more shattering.

    9.0 9.0