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Actor: Daniela Demesa

Daniela Demesa is a talented Mexican actress known for her compelling performances on screen. Rising to prominence with her role as Estrella in the critically acclaimed film “Tigers Are Not Afraid,” Demesa captivated audiences with her emotional depth and authenticity. Her portrayal of a young girl navigating the dangers of a crime-ridden city earned her widespread acclaim and praise from critics. With her talent and promising career trajectory, Daniela Demesa continues to make a mark in the world of cinema, captivating audiences with her captivating performances and undeniable talent.

  • Roma

    Roma

    “Roma” is a visually stunning and emotionally resonant film directed by Alfonso Cuarón. Released in 2018, the film is set in Mexico City during the early 1970s and is a semi-autobiographical reflection on Cuarón’s upbringing. Shot in black and white, “Roma” follows the life of Cleo, a domestic worker for a middle-class family, as she navigates the complexities of her personal life against the backdrop of social and political upheaval in Mexico.

    The film beautifully captures the everyday rhythms of life, portraying both the intimate moments and grand events that shape Cleo’s experiences. As Cleo cares for the family’s children and manages household tasks, she forms deep bonds with the family members, especially the children, while also grappling with her own challenges and aspirations.

    Cuarón’s masterful direction and cinematography create a rich tapestry of imagery and symbolism, drawing viewers into the vividly realized world of 1970s Mexico City. The film explores themes of class, family, love, and resilience, offering a poignant meditation on the human experience.

    “Roma” received widespread critical acclaim for its artistic achievements, including its cinematography, storytelling, and performances, particularly Yalitza Aparicio’s portrayal of Cleo. It won numerous awards, including the Academy Award for Best Director and the Golden Globe Award for Best Foreign Language Film, cementing its status as a modern cinematic masterpiece.

  • What to Watch in May

    What to Watch in May

    A life lived so vibrantly spotlighted as that of Amy Winehouse’s was ripe for the biographical pickings from the moment of her death, all too soon back in 2011. It’s an indictment of the day and age we live in. Nothing to be proud of. Back to Black is the first dramatisation out of the blocks. It follows, and skulks in the shadow of, Asif Kapadia’s superior 2015 documentary, Amy. Where that film dived deep, upsetting her family in the process, this one’s but a paddle in the shallow end. A superficial and underwhelming entry to the current vogue for jukebox biopics. It’s worse than that though. Back to Black hasn’t the self-awareness to recognise itself as being no better than the then paparazzi it vindicates.

    Many, it is likely, will find the film entirely passable. Courtesy of Winehouse herself, it boasts a terrific soundtrack, allowing Sam Taylor-Johnson ample opportunity for montage. It’s an easy win for the Fifty Shades of Grey director, who shoots with eloquence and style. As for the lead, Marisa Abela certainly looks the part. She makes an impressive stab too at vocal impersonation, going hell for leather with song and script alike. Rote, simplistic writing – from Film Stars Don’t Die in Liverpool’s Matt Greenhalgh – does Abela no favours but her effort and respect for Winehouse are palpable. There’s more to capturing Amy than the donning of a beehive and faux ‘Daddy’s Girl’ tattoo.

    Amy has neither as the film opens. Back to Black joins her story just prior to the completion of Frank, her debut album, in 2003. It was an album born of anachronism, jazz in the age of manufactured pop. Amy is no f*****g Spice Girl and won’t be manufactured for anyone. She’s a family girl through and through, devoutly close to her nan, Lesley Manville’s Cynthia, and the apple of her parents’ respective eyes. Mum, Janis (Juliet Cowan), is unwell, we’re told, but the film has no further insight there.

    More focal is Mitch Winehouse, who is played by a sympathetic Eddie Marsan. The real Mitch hated Kapadia’s documentary – which dared to critique his culpability in Amy’s downfall – but should find Back to Black more palatable. Here, he is a doting, kindly figure. Totally exonerated. True, he’s the man who said no, no, no to rehab but he’s the father that drove her there when she truly needed it. No mention is made of the exploitative documentary he made for Channel 4 just two years before her death.