Sólo con tu pareja (Uno per tutte) - Alfonso Cuarón

inizia che sembra una tonteria, poi ogni minuto che passa il film acquista spessore.
ottima la sceneggiatura, in quest'opera prima di Alfonso Cuarón, chi guarda questo film capisce perché l'hanno voluto negli Usa, hanno degli ottimi talent scout, oltre all'immagine di Benjamin Franklin sui centoni, laggiù.
poteva essere un film soft-porn tipo Italia anni '70-'80, è invece un gran film, una commedia coi fiocchi, hanno visto i film dei maestri della commedia, i Cuarón, un po' slapstick, un po' Wilder.
vedere per credere - Ismaele

QUI il film completo, in spagnolo

  

…Solo con tu Pareja's approach to sex isn't as explicit where it's done with great humor. Even the scenes of Tomas running down the stairs and back up to get the paper is one of the most memorable moments. Then there's the scenes involving suicide where it's also done in great humor like in Hal Ashby's classic film Harold & Maude (whose Mexican film poster makes a cameo in Y Tu Mama Tambien). Yet, Cuaron's direction with its stylish camera work, scene compositions, and shots of Mexico City is breathtaking. While it's not perfect, it shows of what was to come from this great director.

Helping Cuaron in his imagery is a longtime collaborator Emmanuel "Chivo" Lubezki. Serving as a cinematographer for every film Cuaron did (minus Harry Potter & the Prisoner of Azkaban), Lubezki's colorful imagery in the film's interior scenes are breathtaking with its use of green colors and lights to complement the look of both Tomas' spacious apartment and the naturalistic tone of Mateo's apartment. Lubezki's cinematography along with additional camera work by another fellow Mexican cinematographer in Rodrigo Prieto (serving as a second-unit director & second-unit photography) is just amazing including a lot of the exterior settings for Mexico City including the aerial shots…

…Claudia Ramirez makes a wonderful impression as Clarissa. Ramirez's sensual innocence is really intoxicating as she brings a beauty to the film as a woman who has it all until an event that shakes her innocence completely. Ramirez definitely sells her despair as she and Cacho have great chemistry. Daniel Giminez Cacho is brilliant in his role as the philandering Tomas. Cacho is great in the way he does comedy and drama by being this very flawed individual with a very dangerous lifestyle. When he starts to make a change, his character becomes sympathetic but also performed in a funny way that he's a character that's enjoyable. Cacho, who is famous for his work in Pedro Almodovar's La Mala Educacion and being the narrator in Y Tu Mama Tambien, gives a phenomenal performance.

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…The rest of the plot is a scramble, while characters with mistaken impressions race around town, pursued by the characters that can set things right. Normally this kind of romp comes across like hammer blows with no rhythm or humor, but Cuaron's friendly touch, and his appreciation for pretty faces, saves the day…

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…This is a film full of incidents of varying hilarity, staged with a magnificent sense of direction and energy, and while one could easily fault the film for a lack of real substance, it certainly holds the viewer’s attention, because the chaos does not overwhelm the storylines. Also, Cuarón’s use of mostly classical music on the soundtrack (which often consists of Mozart - predictably, the “Madamina, il catalogo è questo” aria from Don Giovanni) gives a slightly heavier, though perhaps only ironically, gloss to the events we witness.

Love in the Time of Hysteria doesn’t take itself too seriously – exhibit one is the opening quotation of the film, from e.e. cummings, which states that “mike likes all the girls [...] all the girls except the green ones”, but these quotes ranges from such nonsense to Newton’s Third Law; its characters usually have the same first and last names, and Tomás’s friend Mateo uses cliché Latin sayings in most of his sentences. Nonetheless, the film certainly entertains and while the characters of the two Japanese businessmen have no real place in the story, this film showed the great promise on which Alfonso Cuarón would soon deliver. His cameraman, Emmanuel Lubezki, would continue to work with him on most of his subsequent projects, as well as the films of Terrence Malick, while his other cameraman, Rodrigo Prieto, would work with the other great Mexican director of the last decade, Alejandro González Iñárritu.

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