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    • Documentário biográfico sobre Gabriel García Márquez, muito bem feito, com entrevistas, fotos, imagens de arquivo; englobando literatura, política, jornalismo; aprendi dezenas de coisas, mas...como cinema, nada demais! Sempre acho engraçado como dependendo do nacionalismo, um escritor, um artista em geral, " é o maior do mundo", "o maior da América", "O que mais vendeu"...Borges, Llosa, Machados de Assis, Márquez, Fuentes... É resultado do "narcisismo das pequenas diferenças", como escreveu Freud. Todos são gigantescos!
    • Frankie First Reactions: Tim Grierson: In which Ira Sachs largely achieves the offhand grace his films consistently seek. There are some narrative lapses, but the simple, focused wistfulness of the piece sweeps over you, building in force. Huppert is great, of course, but Marisa Tomei is sublime AA Dowd: FRANKIE is definitely Ira Sachs’ Frenchest movie: a minor-key, melancholy gabfest about lives in transition, set against the scenic splendor of Portugal. Not a film I expect to stick with me too long, but certain images (like the last one) might Ken Adams: can anyone do poignance like Ira Sachs nowadays, for real. Absolutely beautiful tales of the four seasons vibes, less Eustache this time around Alex Billington: Relationships & family crash & churn like waves on a beach while on a vacation to Sintra, Portugal. A light film with a very tender touch. Ira Sachs is so wonderful at making his actors feel so comfortable in their roles, always a delight to watch them. David Ehrlich: Isabelle Huppert at her most vulnerable. Brendan Gleeson in “sad dad on vacation” mode in khakis and a blazer. Jérémie Renier with a mustache. i can dig it. Eric Kohn: FRANKIE is such a lovely low-key charmer. A Rohmer-like rumination on family, art, mortality, the usual jam. Not much happens but so much is said. Ira Sachs’ best ending Tom Page: A brittle family drama with some friction, but Sachs spends too much time rummaging in the chaff when there’s more profitable kernels left wasted. And by that I mean more Brendan Gleeson please. Gregory Ellwood: Frankie is at its best when no one speaks. Sachs can’t avoid exposition to the gods but Huppert and Tomei are superb Jason Gorber: Frankly Ira Sach’s film is lovely, the story of a family headed by the always formidable Isabelle Huppert finds solace is decidedly unorthodox ways. Think of it as MAMMA MIA with a lot less ABBA and a lot more of an affecting and developed narrative John Oursler: Marisa Tomei and Brendan Gleeson in FRANKIE are my favorite performances of the year so far. Authentically funny and emotionally resonant. A beautiful film abundant with beautiful moments. Charles Bramesco: if you’re gonna die, you might as well be rich and bourgeois and in postcard-perfect Portugal while you do it. Huppert’s reached a point of iconhood where her movies bend around her instead of the other way around, and I’m all for it
    • The Young Ahmed First Reactions: Charles Bramesco: The Dardenne brothers’ teen-terrorist drama YOUNG AHMED isn’t nearly as racist as has been feared. That’s not to say it’s “good,” however Tim Grierson: A troubling work that reveals more about its creators than their subject. And maybe that’s the point: The Dardennes are sincerely wondering how we grapple with extremists when we can’t understand their motivations. Their movie guesses but doesn’t know Robbie Collin: I was not wild about Young Ahmed, in which the Dardennes come face to face with the first protagonist to ever defeat them AA Dowd: YOUNG AHMED is reasonably gripping, and as starkly unsentimental as the rest of the Dardennes’ work. But it doesn’t entirely figure out its main character, which maybe why the ending they engineer for him feels so hollow—a botched Hail Mary. Alex Billington: Eh. Way too manipulative and obvious, subpar Dardennes screenplay here trying to tackle a big topic of the day but this really isn’t their jam. I get what they’re doing with this kid and trying to respect him, it’s so plainly there, but nah it’s no good Xan Brooks: If Young Ahmed was a novel, the Dardennes would be getting monstered for cultural appropriation. Different rules for film, it seems, & I *did* quite like this. Sad, gentle, well-intentioned tale of a radicalised teen at a crossroads Joseph Fahim: The Dardennes, whose work enriched me for years, tackle Islam in their new film, ‘The Young Ahmed,’ and as a result end up with the worst movie of their career; an incredibly shallow yarn rife with dangerous stereotypes it never challenge Stephen Miller: I am a sucker for the Dardenne style, but god did I love YOUNG AHMED. Risky subject matter, handled with signature intensity and grace Joel Mayward: I’m still reeling. This is the Dardennes’ most direct treatment/critique of religion and ideology, as well as their most conventional and concise narrative. In this, it will likely be their most divisive film to date. Yasmin Omar: As if there weren’t already enough one-dimensional presentations of Muslims as murderous fanatics, Young Ahmed adds to this tone-deaf canon with its culturally appropriative view of Islam. No thank you J Sperling: “Young Ahmed” is a measured story from Belgian filmmakers Jean-Pierre and Luc Dardenne. It follows a young Muslim teenager who becomes radicalized and must deal with consequences of his extreme behavior. Less substance than one would hope for from the bothers.
    • Marvel lança série sobre a história dos X-Men
      Agora que a Disney comprou a FOX e a Marvel oficialmente tem controle sobre os X-Men novamente, é hora de reintroduzir o público aos mutantes.A Marvel lançou hoje uma nova web série documental em seu canal de YouTube, agora focando-se na história dos X-Men e seus grandes momentos nos quadrinhos. A série ganhou o título de X-Men: The Seminal Moments, e trará 3 episódios já nesta semana, enquanto o capítulo final chega na próxima semana.Confira o primeiro episódio abaixo.
      O documentário dará atenção especial para as HQs Giant-Size (1975), X-Men No. 1(1991), X-Men No. 1, Era do Apocalipse (1995) e New X-Men No. 114 (2001).
      Nos cinemas, a saga X-Men terá seu capítulo derradeiro com X-Men: Fênix Negra, que estreia em 6 de junho.  
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