Two Oscars, two BAFTAS, one Golden Globe, 19 Grammies. REMEMBER THAT BY COLLABORATING YOU WILL HELP US MAKE THE CERVANTES AND ECHEGARAY THEATRE PREMISES SAFER.
Pursuant to safety, hygiene and health regulations applicable at any given time, and to the indications of competent authorities, the Cervantes and Echegaray are entitled to modify the seating capacity for every event. After leaving the Theatre please do not linger in the vicinity of the main entrance doors to avoid causing delays in the exit of other spectators.Please respect the 1,5-metre safety distance.
At the end of the show spectators will leave the House in a staggered manner.In case of a sneezing or coughing attack, please leave the House until you recover.Please respect the maximum capacity of the restrooms.You are not allowed to stay in the lobbies or hallways.Please occupy your seat as soon as possible and avoid getting up needlessly.The House will open half an hour before the show is scheduled to start. We will have hydroalcoholic gel for your use.
Please bring your own face mask you are obliged to use it when you are in the theatre.Please respect the maximum capacity, entrance and exit itineraries and the 1,5-metre safety distance.We recommend that you purchase your tickets online, and that you pay with a credit card.“…the masculinity to be found in these films is a masculinity that has a specific energy particular to Iñárritu’s films that requires release and containment that is curtailed by external forces and managed as a burden by the individual.RECOMMENDATIONS AND MANDATORY RULES We kindly ask that you cooperate by complying with the following organisational measures and with the recommendations made by the House personnel. Using videographic criticism as a tool for analysis, this article considers the actor’s dynamic performances in AGI’s male-centred melodramas Amores perros (2000), 21 Grams (2003), Babel (2006), Birdman or (The Unexpected Virtue of Ignorance) (2014) and The Revenant (2015). As someone whose auteur status is conferred both through multiple prestigious awards and articulations of his creative self as originator of his projects, AGI’s play with genre is often overlooked. Alejandro González Iñárritu (AGI) demonstrates a fluency in this genre integrating it into the conventions of transnational art house cinema. Melodrama is a genre with deep roots in Mexican cinema with distinct conventions and particularities.
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