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Oscar 2018: Previsões

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"Wonderstruck" com críticas mistas. Os papeis de Julianne Moore e Michelle Williams, segundo o que eu li, não são dignos de prêmios. Apenas pontuais e efetivos. Única unaminidade positiva: trilha sonora de Carter Burwell ("trabalho da vida").

 

Em resposta a @pablovillaca

4) Wonderstruck - Depois dos belos dois primeiros atos, desmorona no terceiro. 3/5 #cannes2017Cannes_Film_Emoji.png

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 CANNES 2017: OKJA


 


 Reactions:


 


Elena Lazic – I laughed, I cried, I might go vegetarian: OKJA is wonderful. Way better than SNOWPIERCER and best use of Annie’s Song in 2017. #Cannes2017 


 


Dave Calhoun – Bong Joon Ho’s GM pig caper OKJA is largely silly with the odd good moment. Swinton, Gyllenhaal far too broad. Proceed with cochon. #cannes


 


Eric Kohn – Only Bong Joon Ho could make the story of a mutant pig and the girl who loved her both endearing & political. #Cannes2017 


 


Patrick Ryan – OKJA is the most fun I’ve had watching a PETA ad. Gyllenhaal and Swinton are inspired casting, and Seo Hyun-Ahn is a breakout. #Cannes2017 


 


Richard Lawson – OKJA is great. A spirited, weird, poignant plea for compassion and principle. Its closing moments feel like a benediction. #Cannes2017 


 


Beatrice Behn – My heart bleeds for #Okja. Great film, perfect creature feature, funny, honest /w attitude. Exactly what cinema needs…oh wait. #Cannes17


 


David Jenkins – Is Okja a Netflix movie that disses the idea of Netflix movies? Felt also like a live action Ghibli movie. Good fun. A Bong hit(!) #cannes70 


 


Jason Gorber – OKJA – porcine version of NEVERENDING STORY mixed with ecoterrorism and GMO politics. Steange, surreal, and kind of lovely #cannes2017 


 


Tim Grierson – OKJA: Just OK. There’s a dark, primal story in there, but the aggressive eccentricity keeps getting in the way. Pig looks great. #Cannes2017 


 


John Bleasdale – Okja: Bong Joon Ho gives us Babe on steroids. Dark, Moving, hilarious #Cannes2017  @cinevue


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120 Beats Per Minute


 


 Reactions


 


Matt Hoffman: Our first legitimate Palme contender. Draining, powerful. I cried!


 


Caspar Salmon: Robin Campillo’s 120 BATTEMENTS PAR MINUTE is triumphant: robust, sensuous, funny, tender, glintingly intelligent, devastating. What the film does verges on the miraculous, in the way it commingles the personal and political so adroitly. It’s a belter of a film.


 


Peter Bradshaw: Robin Campillo’s 120 Beats Per Minute commemorates the ACT UP movement as a life during wartime, a radical moment like 1848


 


Tim Grierson: Conventional but enhanced by its intelligence and restraint. Has a poetic ending, goes 10 more minutes.


 


Alex Billington: Riveting film about AIDS activist group in Paris in 1990s. Beautiful, inspiring story of living to make a difference. This is one of those films that gave me that emotional jolt to take advantage of life and live it to the fullest while we still can.


 


David Ehrlich: very strong, sensitive docudrama about ACT UP Paris and “living politics in the first-person.”


 


Gregory Ellwood: Like God’s Own Country, 120 Beats Per Minute has one of the most visceral and moving gay sex scenes on film.


 


Richard Lawson: 120 BEATS PER MINUTE, about ACT UP Paris, is talky and technical but still richly intimate. Nahuel Biscayart for best actor pls!


 


Jada Yuan: Weeping, applause, and silent exit for 120 BATTEMENTS PAR MINUTE, an astounding AIDS movie as full of life as it is of death.


 


John Bleasdale: 120 Battements Par Minute – Robin Campillo’s Aids drama is powerful and moving, both political and personal


 


Niels Putman: Tender gay love story deep down incredibly moving docudrama bout AIDS activist group. Devastating. 


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Happy End

Reactions:

 

Joe Utichi – I know why Michael Haneke has called it Happy End. Because I’m overjoyed to be out of it. #cannes70 Also, to be fair, the last five minutes are the best thing about it.

 

Richard Lawson – Never thought I’d hear Sia’s “Chandelier” in a Michael Haneke movie #Cannes2017 
HAPPY END is a bleak comedy about a family of wealthy sociopaths. Amorality of capitalism passing through generations. I think? #Cannes2017 

 

Eric Kohn – Haneke’s HAPPY END: Cinema of despair at its finest, including the most depressing karaoke scene in film history. #Cannes2017 

 

Tim Grierson – HAPPY END: Man, Haneke’s adaptation of ARRESTED DEVELOPMENT is *dark.* #Cannes2017 

 

Alex Billington – Happy End – Haneke tells another dry story of a bourgeois French family and their depressing lives. Clever filmmaking but ultimately bland.

 

Nikola Grozdanovic – HAPPY END: traces of every previous Haneke in this one, loads to unpack, brilliant in its scathing undercurrent of wretchedness. #Cannes2017 

 

David Ehrlich – HAPPY END: a guaranteed lock for the coveted Karaoke d’Or. part Code Unknown, part Amour, *all* Haneke. I’m all shook up. #Cannes2017 

 

Jason Gorber – HAPPY END -Haneke in darkly comic mode, where privilege masks subterfuge and ethical compromise and ennui runs in family DNA #Xiyeon

 

Beatrice Behn – #HappyEnd is almost a comedy. For someone like #Haneke. #Cannes2017 

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Em resposta a @pablovillaca

22) Happy End - É inspirador ver um veterano como Haneke ainda experimentando com a linguagem, mas aqui não há substância que a sustente.3/5

 

 

Movendo desde já Isabelle Huppert para a categoria de Coadjuvante, e tirando o filme dos meus Best Pictures. Direção: vou manter o Haneke a uma quinta vaga, por enquanto.

 

 É um filme de conjunto, não há protagonistas destacados. E parece que há a cena de karaoquê mais triste e sombria da história do cinema.

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The Killing of a Sacred Deer First Reactions


 


Peter Bradshaw: Yorgos Lanthimos’s taboo horror The Killing Of A Sacred Deer moves with a somnambulant’s certainty along a spectrum of strange


 


Sam Gray: The Killing of a Sacred Deer is the scariest film I’ve seen in years. Psychological horror in the truest sense. Very Lathimos.


 


David Ehrlich: Yorgos Lanthimos comes to America & remakes Sophie’s Choice as a suburban horror movie. Boos ensue


 


Steven Zeitchik: The Killing Of a Sacred Deer is a scathing indictment of upper-class disconnection, disguised as the most chilling horror film imaginable


 


Nicholas Barber: The Killing of a Sacred Deer is just a horror movie – but what a creepy, nastily funny & exquisitely acted horror movie it is.


 


Jordan Cronk: As somewhat of a Lanthimos agnostic I found this chillingly strange––Kubrickian even.


AADowd: Sins of the past come back to get us, like a dormant biblical plague. Spooky, intense, Lanthimosian.


 


Alicia Malone: will divide audiences, but this dark suburban horror/thriller was my jam. Funny & DISTURBING


 


Dave Calhoun: Greek tragedy in the style of Kubrick. Pristine, chilling but god it’s a slog.


Nikola Grozdanovic: Antiseptic thriller that drowns empathy in a pool of its own sterile self-importance. Boo indeed.


 


Caspar Salmon: Lanthimos’s tricks have run dry. A soulless film with a thin concept; oddly rythmless. 

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L’Amant Double


 


 Reactions


 


Tomris Laffly: Cannes has Twin Peaks & Ozon’s cool, Lynchian weirdfest thriller L’Amant Double. Sex/blood/body horror gallore. Some opening shot it has.


 


AADowd: Delirious premium trash, like De Palma or Verhoeven remaking DEAD RINGERS from the Bujold character’s perspective.


 


Jason Gorber: Ozon’s L’AMANT DOUBLE is watered down Cronenberg, a stylish if silly take on twinning that’s rarely winning


 


Peter Bradshaw: The lite-erotic stylings of François Ozon’s L’Amant Double are trying. But it’s the best strapon scene since Myra Breckinridge


 


David Ehrlich:  I can’t believe it took 25 Cannes movies before I saw one that opens with a shot from inside a vagina.


 


Jamie Graham: Hitchcockian psychosexual thrills in Ozon’s L’amant Double. Elegant, trashy, erotic, outrageous. Can see Almodóvar digging it


 


Caspar Salmon: François Ozon’s L’AMANT DOUBLE is such a romp! Think Rosemary’s Twin, with cats and pegging. Peak Jeremie Renier. High trash!


 


David Jenkins: L’Amant Double by François Ozon is mediocrity squared, big time sexy trash and shallow as a puddle.


 


Justin Chang: Twin-themed psychothriller trashterpiece should be titled DEAD RENIERS. A shoo-in for the Palme d’Orifice.


 


Nikola Grozdanovic: Had loads of fun with L’AMANT DOUBLE. Polanski, Cronenberg and De Palma through a cracked, sexy mirror. And what beautiful cats!


 


Kyle Buchanan: L’AMANT DOUBLE is Francois Ozon doing De Palma. Hilariously fun sex trash with the most ridiculous match cut of Cannes 2017


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You Were Never Really Here


Reactions


David Ehrlich: Lynne Ramsay directs Joaquin Phoenix in an art house TAKEN with Jonny Greenwood’s best score. Yes please


 


Peter Bradshaw: The ghost of Travis Bickle haunts Lynne Ramsay’s humid and nightmarish You Were Never Really There


 


Tim Robey: Wish Cannes gave an editing prize, cos YOU WERE NEVER REALLY HERE is the best cut comp film by a country mile. Devastating scalpel strokes


 


Beatrice Behn: What an odd little gem You Were Never Really Here is. Perfectly captures the silence & despair of severe trauma. Great score, well crafted and odd. A great tweeking of genre conventions. Unexpected in many ways. 


 


Total Film: Joaquin Phoenix plays a vigilante for hire in Lynne Ramsay’s ace, ultraviolet Taxi-Driver-meets-Taken You Were Never Really Here


 


Jamie Graham: Joaquin Phoenix goes full Travis Bickle in Lynne Ramsey’s at times inspired, always riveting You Were Never Really Here


 


Alex Billington: Badassery from Lynne Ramsay. Joaquin Phoenix as great as always saving young girls. Helluva score, helluva film. Feeling like this film is going to be on Top 10 lists for many film lovers this year (or whatever year it’s out). It’s something special.


 


Peter Howell: Late-breaking stunner from Ramsay, thriller/fever dream, Joaquin Phoenix as damaged avenging angel.


 


Isabel Stevens: Bloody, visceral, nightmare-thriller from Lynne Ramsay. We need to talk about her & the Palme d’Or


 


Jason Gorber: relentless revenge thriller w/ killer Bickle-like turn by Phoenix. Stylish, deadly 


 


Nikola Grozdanovic: Fantastic Lynne Ramsay film, its use of violence reminded me of DRIVE; Phoenix as brilliant as ever.


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Acompanhando a cerimônia em Cannes:

 

O elenco de 120pb foi todo convidado. E Campillo também presente, claro.

 

 

Camera D’Or WINNER: Leonor Serraille – Jeune Femme (Um Certain regard)

 

Screenplay WINNERS: The Killing of a Sacred Deer and You Were Never Really Here

 

Jury Prize WINNER: Loveless (aplausos e vaias - talvez por que o esperavam vencendo)

 

Best Actress WINNER: Diane Kruger – In The Fade

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Pro Brasil, Cannes trouxe algo ótimo: um candidato. Gabriel e a Montanha! Fellipe Barbosa, do excelente "Casa Grande", venceu o France 4 Visionary Award, mas mais do que isso, o filme caiu no agrado geral.

 

Ótima notícia pro Joaquin Phoenix - Vá de sapato na próxima festa de gala, ok? Pois nos últimos anos, Dujardin e Waltz, vencedores em Cannes, foram premiados com a estatueta; e outros vencedores na França, Bruce Dern e Javier Bardem, conseguiram indicações ao Oscar.

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Feriado por lá...

 

Day Results
1. Pirates of the Caribbean: Dead Men Tell No Tales – $62.18 million
2. Guardians of the Galaxy Vol. 2 – $19.9 million
3. Baywatch – $18.1 million
4. Alien: Covenant – $10.52 million
5. Everything, Everything – $6.19 million

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