If one of the factors that allows us to gauge the value of an artistic text is its ability to establish a personal and unique dialogue with everyone around it, there is no doubt that Wuthering Heights It is a masterpiece. Further proof is that this novel by Emily Brontë has inspired such diverse film adaptations as those by Luis Buñuel during his Mexican period, Jacques Rivette, and Yoshishige Yoshida, who took the British joke to feudal Japan.

Eight years after winning the Golden Lion at the Venice Film Festival for The Shape of WaterGuillermo del Toro returned to the show today, ready to repeat the success with his version of Frankenstein, by Mary Shelley. And, from the outset, it must be said that these two sinister fables directed by the Mexican share a gothic aura, the Shakespearean reference of Romeo and Juliet and a Christian background. "For me, the story of Frankenstein "It's been like a religion," Del Toro confessed at the film's press conference. "I was raised Catholic, but as a kid, I didn't really understand what a saint was. But then I discovered Boris Karloff playing the monster, and I understood what a messiah was." Del Toro had been trying to make his version of that horror myth for more than two decades, and he directed it when he had "the means to make it on the scale I wanted to make," "and now that it's finished, it's my turn."Pan's Labyrinth.

Everything is impeccable in Indomitable, the film debut of experienced television director Daniel Minahan: the atmospheric photography, the careful setting that recreates post-war United States, the yellow jacket with which he Jacob Elordi emulates James Dean Rebel Without a Cause…Almost everything in this immaculate product evokes in form and substance the universe of Ryan Murphy (Minahan has directed episodes of series such as Ratched, Halston and Hollywood) and it seems as artificial as the protagonist's jacket: its bright yellow and immaculate appearance remind us that we are looking at a simulation of 1950s Hollywood cinema.

Now largely and unfairly forgotten, David Lean became one of the world's most popular and prestigious filmmakers with The Bridge on the River Kwai (1957), a major production about a British prisoner of war camp under Japanese control during World War II in which soldiers are forced to build the railway bridge of the title, a route between Burma and Thailand to the greater glory of Japanese imperialism. From the best-seller A namesake of Pierre Boulle, Lean turned the film into a portrait of the delirium of war through the confrontation between the representatives of two empires in crisis: the British military man who forces his men to build the bridge for the enemy out of pure megalomaniacal discipline, and the Japanese who exert strict control over the prisoners. The narrow road to the Deep North, by Richard Flanagan, published in 2013, has often been seen as Australia's response to Boulle's book and Lean's film. The author drew on both his father's experiences as a Japanese prisoner of war and those of a renowned Australian doctor who endured the same hardships in the construction of that famous railway, to craft a drama of love and war that has now been turned into a miniseries. The protagonist, Dorrigo Evans (Jacob Elordi) is a surgeon engaged to a girl from a good family. When he is about to be called up, he falls in love and becomes involved with his uncle's young wife, a relationship that will mark him for life. The modernity ofThe Bridge on the River Kwai It was based on creating a war film without heroes or a possible happy ending. The narrow path It also questions the immutability of the hero figure, based on the evolution of Evans, who as an adult becomes a renowned doctor, but also cynical and incapable of love.