El proper DIVENDRES 17 DE MAIG a les 20:30h després de la projecció del western francès LOS HERMANOS SISTERS comentarem la pel·lícula en anglès. Des del cinema Rambla de l’Art us animem a tothom a participar al nostre particular English Corner, sigui quin sigui el vostre nivell! cada cop anirem millorant!!


“Unos actores en estado de gracia (…) Puro gourmet actoral para una película rebosante de sentidos y sensibilidad, un ejercicio de cine lírico –espiritualizado por la banda sonora de Desplat–” Fotogramas

2018: Festival de Venecia: Mejor director

2018: Premios César: Mejor director, fotografía, sonido y diseño de prod. 9 nom.

2018: Satellite Awards: Nominada a Mejor banda sonora


1850. Charlie y Eli Sisters viven en un mundo salvaje y hostil, en plena fiebre del oro. Tienen las manos manchadas de sangre: la sangre tanto de criminales como de personas inocentes. No tienen escrúpulos a la hora de matar. Es su trabajo. Charlie (Joaquin Phoenix), el hermano pequeño, nació para matar. Eli (John C. Reilly), sin embargo, sueña con llevar una vida normal. Ambos son contratados por el Comodoro para encontrar y matar a Hermann Kermit Warm (Riz Ahmed), un buscador de oro. De Oregón a California arranca una caza despiadada, un viaje iniciático que pondrá a prueba el demencial vínculo entre los dos hermanos.

Joaquin Phoenix,  John C. Reilly



“It is the quintessence of the typical history of the Old American West that is probably best described as ‘picaresque’ (…) It is hard to believe that it was not created by the Coen brothers”

By Leah Greenblatt

Entertainment Weekly


Jacques Audiard is the French director who has notably absorbed American ideas into his downbeat Melvillian jazz of crime and noir. Now he has taken on that other great

American genre, the Western, in this resoundingly enjoyable and funny movie, adapted by Audiard and Thomas Bidegain from the Booker-shortlisted novel by Patrick DeWitt. Given that it comes so soon after the Coen brother’s The Ballad of Buster Scruggs, this year’s Venice might just be remembered for its Westerns.

The scene is 1850s Oregon and John C Reilly and Joaquin Phoenix play the quarrelling Sisters Brothers, Eli and Charlie Sisters, two rangy and disreputable guys liable to come riding into town up to no good. They are in fact assassins, working for a shadowy person nicknamed the Commodore, played in cameo by Rutger Hauer. Their latest mission is to travel to San Francisco — a Babylonian centre of worldly pleasure which astonishes and excites these rather provincial men — in order to whack a certain individual called Hermann Kermit Warm, played by Riz Ahmed. But tracking the victim down is not their responsibility as such; the Commodore has assigned this to a prissy private detective, John Morris, played by Jake Gyllenhaal, who is always a few days’ ride ahead of the boys and irritates Charlie intensely with his pompous letters telling them what to do.

The Sisters siblings do not in fact appreciate the exact reason for the Commodore’s interest in Warm, and Morris understands it before they do, leading the men into a terrible, fatal secret. Finally Eli and Charlie, like Butch and Sundance before them, suspect that there are some pretty persistent people on their own tails.

Reilly (who also produces) gives another warmly melancholy, hangdog performance as the beta-brother Eli — not so far in fact from his performance in the comedy Step Brothers, opposite Will Ferrell. He is always complaining and whingeing about the fact that he somehow gets paid less than Charlie, on the specious grounds that Charlie has been designated the “lead” killer. He also objects to Charlie’s harsh and insensitive language, and Reilly’s emotional woundedness almost makes you forget the irony, considering what he does for a living. Joaquin Phoenix’s Charlie himself is a sneery cynic and drinker, who tends to spend the first part of any day in the throes of a hangover, falling off his horse and throwing up. But their abusive family background has grimly taught Eli why Charlie gets to be top dog. Carol Kane has an endearing and funny cameo as their elderly mother.

The harshness of their lives together on the trail is grippingly recorded, and there is a horrible moment when Eli is asleep, snoring with his jaw unattractively slack, and a spider inches up his chest, onto his chin and agonisingly close to the abyss of his open mouth. The entire audience winced. But Eli is aspirational: he is the brother who buys one of the new-fangled toothbrushes for making one’s breath fresher and teeth longer-lasting and notes that Morris has invested in one as well. In fact, it is Charlie who is the person with no appreciation of the modern world.

Warm has a very futuristic vision. He is a scientist and chemist with a lucrative invention which affords the Sisters brothers and us, the audience, an awful vision of how in the decades to come the American landscape could be poisoned, and the bodies of American workers endangered, by big business.

Audiard’s storytelling has an easy swing to it, his dialogue is garrulous and unsentimental, and the narrative is exotically offbeat. The hilarious lack of imagination of the killers is interestingly offset by the idealism and intelligence of Morris and Warm. When the Sisters brothers find that they have ridden together as far as the Western seaboard, and gaze at the ocean (which they have never before seen) Charlie asks Eli if they have ever come so far together. “You mean — in conversation?” asks Eli. Well, that is not what literal-minded Charlie means, but it is an interesting thought. The two men are in fact finding things out about each other and themselves that they did not care to examine before.

Perhaps above all things, this is a portrait of male sadness and claustrophobic and empty male ambition: the title is not merely jokey; these are men without women who have become emotionally stagnant and terribly lonely.