A small text pops up on the screen upon recognizing different subjects and in a second or so, the camera will have adjusted the parameters according to the stuff it recognized. LG says there is no need for internet connection for it to work. The G7's main camera is capable of rich scene recognition thanks to the power of AI which was introduced with the V30S. The front camera is an 8MP unit with f/1.9 aperture.
Not that it needs any OIS at this focal length.īoth sensors are 1/3.1" big with 1.0µm pixels (not especially big). It has a f/1.9 aperture but it's still fixed focus and it doesn't share the OIS of the main camera. The secondary one has been upgraded since the V30S and is now 16MP instead of 13MP. The main one is 16MP with a f/1.6 lens and OIS - same as on the V30S.
Lkg movie selfie review plus#
On a separate note, lenser Eva Diaz and her camera do a terrific job of capturing the essence of Madrid life at its different social levels.The LG G7 ThinQ has a similar setup to the LG V30S ThinQ - a regular camera plus an ultra wide one. And that’s fine - but it’s a decision that ultimately hobbles this interesting character and his interesting film. It may be the film’s point that Bosco is a victim, too, one whose education and background have made him incapable of learning from his new circumstances. It’s almost as though Garcia Leon is scared of generating too much sympathy for this rich dolt. (The problem is not with Alveru, who’s terrific, but with the character.) But he remains an idiot, one seemingly incapable of empathy or of learning in any way that would have given him depth and created important emotional connections.įor that reason, in the second half, it feels as if Selfie has already said everything it has to say, and that Bosco has become a mere punching-bag. As things go on and the humiliations pile up - perhaps most tellingly when he finds his mother Cristina (Isabel Garcia Lorca) and asks her for money, which she inexplicably refuses to give him - Bosco does becomes less happy. At the start of the film, Bosco is a happy idiot, with a winsome smile and an open manner that are really engaging. Partly this is due to the character’s problematic conception. But it’s also a format that could have given the film more depth by allowing for more private, intimate moments of reflection by Bosco on his situation, which never happens, despite the potential in a number of scenes.
It’s a technique that enables Garcia Leon to blend the fictional and the real, for example in one surreal scene where Bosco briefly meets Esperanza Aguirre, the former mayor of Madrid (possibly unaware she’s being captured in this satirical context).
Macarena finds Bosco a job working for her social organization, and he suddenly finds himself in a world where people look out for others rather than for themselves, which baffles him. He falls in with Macarena ( Macarena Sanz, also making her debut), a blind, kind-hearted and slightly too-innocent teacher of developmentally disabled people, with whom he enters into a relationship while her colleague Ramon (Javier Carraminana) - the political opposite of Bosco, but also pretty idiotic in his own way - looks on uneasily. For him it’s a trip to an unknown and slightly scary world, but one where the majority of people of course live. Having stayed the night at the home of Claudia, his former house cleaner, Bosco is obliged to leave his social bubble and ends up wandering around Madrid’s vibrant, buzzing lower-class areas. In other words, when the money goes down, everything else goes down with it - except, inevitably and comically, Bosco’s sense of social superiority. The family’s possessions are seized Paula will soon leave Bosco and he’s asked to drop his course of study. But early on, his politico father is arrested and jailed on multiple corruption charges (something that’s been happening a lot recently in real-world Spain) and suddenly his world falls apart. That said, Selfie remains a bold, watchable and thoroughly contemporary item that deserves festival exposure as an example of a kind of Spanish cinema that’s both experimental and accessible.īosco ( Alveru) has the typical life of a wealthy Madrid family offspring, living in a huge house in the outskirts, going out with flighty, attractive Paula (Clara Alvarado) and studying for the requisite MBA. But despite a committed performance by debuting actor Santiago Alveru, the film falters over its final stretch. Small in scale but big in ambition, Victor Garcia Leon’s study of the wanderings of a rich kid fallen on hard times is part comedy, part X-ray of post-crisis Spain and part moral yarn about empathy. A fable about the collision of two Spanish worlds locked in a mutual misunderstanding, Selfie is perceptive and thought-provoking fare that fails to deliver fully on its striking premise.
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