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lmborba

Oscar 2019 - Previsões

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Não achei o tópico em nenhum lugar (Alô @SergioBenatti). Então, bora criar. 

Comecei a ver agora quais são os nomes do Oscar 2019 e estou encantado com as possibilidades.

Tem filme novo de:

Scorsese

Barry Jenkins

Adam McKay

Spike Lee

Damien Chazelle

Felix Von Groeningen

Terry Gilliam

Steve McQueen

Além de filmes já lançados de 

Ryan Cogler

Alex Garland

 

Eu fiz minha lista: https://letterboxd.com/lmborba/list/oscar-2019-real-early-list/

Ela é baseada nos sites que eu conheço. Mas aguardo dicas do que acompanhar.

A expectativa para esse ano é alta. Tomara que seja melhor que o ano passado.

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Com o chute inicial dado pelo amigo e contribuidor @Imborba, começa mais um Previsões para o Oscar. Como eu sempre digo, Oscarnuts

"Tópico para ansiosos. Tópico para fanáticos. Tópico para apostadores. Tópico para quem ama cinema. Tópico de tradição do site Cinema em Cena. Acompanharemos mais uma temporada de festivais, prêmios de crítica, polêmicas sociais, números de bilheterias, e o eterno duelo cinema de prosa versus cinema de poesia. O que veremos neste ano? Quais filmes chegarão lá? Surpresa, ou frustração, quem sairá com uma das cobiçadas estatuetas douradas nas mãos?"

Com a ajuda dos sites IMDB, Awards Daily, do texto e pesquisa deste que vos escreve, e, sobretudo, das informações e texto do excelente Termometrooscar (os quais tive de corrigir equívocos em muitos casos), eis a lista de alguns dos prováveis contendores:

 

FIRST MAN: Diretor: Damien Chazelle Elenco: Ryan Gosling, Kyle Chandler, Jason Clarke e Claire Foy.
Cinebiografia do astronauta norte-americano Neil Armstrong.

THE IRISHMAN: Diretor: Martin Scorsese Elenco: Robert De Niro, Al Pacino, Joe Pesci, Harvey Keitel, Ray Romano, Anna Paquim e Jesse Plemons.
Conhecido como "O Irlandês", Frank Sheeran é um veterano de guerra cheio de condecorações que concilia a vida de caminhoneiro com a de assassino de aluguel número um da máfia. Promovido a líder sindical, ele torna-se o principal suspeito quando o mais famoso ex-presidente da associação desaparece misteriosamente.

ISLE OF DOGS: Diretor: Wes Anderson Elenco: vozes de Edward Norton, Bill Murray, Jeff Goldblum, Tilda Swinton, Scarlett Johnasson, Frances McDormand, e Yoko Ono.
Atari Kobayashi é um garoto japonês de 12 anos de idade. Ele mora na cidade de Megasaki, sob tutela do corrupto prefeito Kobayashi. O político aprova uma nova lei que proíbe os cachorros de morarem no local, fazendo com que todos os animais sejam enviados a uma ilha vizinha repleta de lixo.

IF BEALE STREET COULD TALK: Diretor: Barry Jenkins Elenco: Stephan James, Kiki Layne, Teyonah Parris, Pedro Pascal, e Dave Franco.
 Baseado no romance de James Baldwin, o filme acompanha Tish (Kiki Layne), uma grávida do Harlem, que luta para livrar seu marido de uma acusação criminal injusta e de subtextos racistas a tempo de tê-lo em casa para o nascimento de seu bebê.

OS INCRÍVEIS 2: Diretor: Brad Bird: Elenco: vozes de Samuel L. Jackson, Holly Hunter, Craig T. Nelson e Bob Odenkirk.
Sinopse oficial nãp divulgada.

THE BELL JAR: Diretor: Kirsten Dunst Elenco: Dakota Fanning, Jesse Plemons e Patricia Arquette.
Adaptação do romance de Sylvia Plath, conta a história da jovem Esther Greenwood (Dakota Fanning) que, após fazer um estágio em uma revista de Nova York, volta para sua casa em Boston e terá que lidar com uma repentina doença mental. É a lenta degradação psíquíca de uma jovem. 

BACKSEAT (* Cheney) : Diretor: Adam McKay Elenco: Christian Bale, Amy Adams, Steve Carell e Sam Rockwell
O longa acompanha a história real de Dick Cheney, tido como o mais poderoso vice-presidente da história americana. 

BEAUTIFUL BOY Diretor: Felix Van Groeningen Elenco: Steve Carell, Will Poulter e Timothée Chalamet.
Um pai precisa lidar com o filho, viciado em metanfetamina.

BOY ERASED: Diretor: Joel Edgerton Elenco: Lucas Hedges, Joel Edgerton, Nicole Kidman e Russell Crowe.
 O jovem Garrard (Lucas Hedges)  mora numa pequena cidade conservadora do Arkansas. Ele é gay e filho de um pastor da igreja batista. Chega um momento em que ele é confrontado:  ou arrisca perder sua família e amigos ou entra num programa de terapia que busca a "cura" da homossexualidade.

THE FAVOURITE: Diretor: Yórgos Lánthimos Elenco: Olivia Colman, Rachel Weisz, Emma Stone e Nicholas Hoult.
Na Inglaterra do século XVIII, Sarah Churchill, a Duquesa de Marlborough (Rachel Weisz), exerce sua influência na corte como confidente, conselheira e amante secreta da Rainha Ana (Olivia Colman). Seu posto privilegiado, no entanto, é ameaçado pela chegada de Abigail (Emma Stone), jovem prima da majestade.

MARY, QUEEN OF SCOTS: Diretor: Josie Rourke Elenco: Saoirse Ronan, Guy Pearce e Margot Robbie.
Mary (Saoirse Ronan), ainda criança, foi prometida ao filho mais velho do rei Henrique II, Francis, e então foi levada para França. Mas logo Francis morre e Mary volta para a Escócia, na tentativa de derrubar sua prima Elizabeth I (Margot Robbie), a Rainha da Inglaterra.

SOLO: UMA HISTÓRIA STAR WARS:  Diretor: Ron Howard Elenco: Alden Ehrenreich, Emilia Clarke, Paul Bettany, Woody Harrelson e Donald Glover.
As aventuras de Han Solo e seu fiel escudeiro Chewbacca antes dos eventos retratados em Star Wars: Uma Nova Esperança.

WIDOWS: Diretor: Steve McQueen Elenco: Viola Davis, Daniel Kaluuya, Robert Duvall, Michelle Rodriguez e Liam Neeson
Quatro viúvas entram para o mundo do crime após os seus maridos morrerem durante uma das maiores tentativas de assalto da atualidade. Eles tomam para a si a responsabilidade de honrar a memória dos amados terminando o que eles não conseguiram completar. 

PETERLOO: Diretor: Mike Leigh Elenco: Maxime Peake, Rory Kinnear, David Bamber e Adam Long.
A história do massacre de Peterloo de 1819, onde forças britânicas atacaram uma manifestação pacifica pró-democracia em Manchester.

THE GOLDFINCH: Diretor: John Crowley Elenco: Ansel Elgort, Luke Wilson, Jeffrey Wright, Sarah Paulson e Ashleigh Cummings.
Adaptação do extraordinário livro de Donna Tartt, "O Pintassilgo". Theodore Decker sobreviveu a um atentado terrorista em um museu quando criança, mas perdeu sua mãe no local. Terá de conviver com o pai, a madrasta, traumas, e...uma obra-de-arte roubada. Cogitado recentemente para 2019.

THE WOMEN OF MARWEN: Diretor: Robert Zemeckis Elenco: Steve Carell, Leslie Mann e Janelle Monae
Adaptado a partir do documentário homônimo, lançado em 2010, o drama contará a  história real de Mark Hogancamp, que acorda de um coma após uma lesão cerebral adquirida em um assalto. Sem memória de sua própria vida e família, ele aprende a lidar com o trauma com uma terapia diferente, construindo um modelo em escala menor de uma vila belga da Segunda Guerra Mundial em seu jardim.

ON THE BASIS OF SEX: Diretor: Mimi Leder Elenco: Felicity Jones, Armie Hammer e Justin Theroux.
A história de Ruth Bader Ginsburg , a segunda juiza da Suprema Corte americana.

BLACKKKLANSMAN: Diretor: Spike Lee Elenco: Adam Driver, John David Washington e Topher Grace
O filme conta a história de Ron Stallworth (John David Washington), um detetive de Colorado Springs, que desafia a Ku Klux Klan e tenta acabar com suas tentativas de comandar a cidade. O filme ainda conta com a produção de Jordan Peele.

THE MAN WHO KILLED DON QUIXOTE: Diretor: Terry Gillam Elenco: Adam Driver, Stellan Skarsgard e Jonathan Pryce
O diretor de comerciais de TV Toby (Adam Driver) viaja até a Espanha para uma filmagem e recebe de um cigano um filme amador. Ele assiste, fica encantado com a adaptação contemporânea de Dom Quixote que vê e inicia uma jornada atrapalhada pelo país para encontrar a pequena cidade que serviu de locação para a genial obra. Viajando de volta ao século XVII, é confundido com Sancho Pança por Dom Quixote (Jonathan Pryce).

ROMA: Diretor: Alfonso Cuarón Elenco: Marina de Tavira, Marco Graf e Daniel Valtierra
Um ano na vida de uma família de classe média da Cidade do México na década de 1970. Netflix.

ON CHESIL BEACH: Diretor: Dominic Cooke Elenco: Saoirse Ronan, Emily Watson e Billy Howle
 Florence (Saoirse Ronan) e Edward (Billy Howle) são jovens recém-casados em sua lua de mel na costa britânica de 1962. Florence é uma violinista displicente, criada durante uma repressão da classe média. Edward foi criado no campo, em uma família mais volátil e encontrou liberdade na literatura. Eles chegam à costa cheios de amor e prontos para começar a vida à dois, mas não estão preparados para a primeira noite de sexo. São virgens.

WHERE’D YOU GO BERNADETTE?: Diretor: Richard Linklater Elenco: Cate Blanchett, Kristen Wiig, e Kate Easton
Antes de viajar com sua família para a Antártida, uma arquiteta excêntrica some sem deixar pistas para trás. Sua filha, então, através de emails, sessões com sua psicóloga, cartas e outros documentos, tenta descobrir para onde sua mãe foi e quais foram as razões de seu desaparecimento. Pura comédia.

CAN YOU EVER FORGIVE ME? Diretor: Marielle Heller Elenco: Melissa McCarthy e Richard E. Grant
Passando por problemas financeiros, a jornalista Lee Israel decide forjar e vender cartas de personalidades já falecidas, um negócio criminoso que dá muito certo. Quando as primeiras suspeitas começam, para não parar de lucrar, ela modifica o esquema e passa a roubar os textos originais de arquivos e bibliotecas.

A STAR IS BORN: Diretor: Bradley Cooper Elenco: Bradley Cooper, Lady Gaga e Sam Elliott.
Uma estrela de cinema ajuda uma jovem cantora e atriz a encontrar a fama, mesmo quando a idade e o alcoolismo enviam sua própria carreira para uma espiral descendente.

ONCE UPON A TIME IN HOLLYWOOD: Diretor: Quentin Tarantino Elenco: Brad Pitt, Leonardo Di Caprio e Margot Robbie.
Sinopse não divulgada. Sabe-se apenas o contexto histórico: Los Angeles, 1969, durante os assassinatos de Charles Manson.

SUSPIRIA: Diretor: Luca Guadagnino Elenco: Tilda Swinton, Dakota Johnson, Chloe Grace Moretz e Mia Goth
Susie Bannion (Dakota Johnson), uma jovem bailarina americana, vai para a prestigiada Markos Tanz Company, em Berlim. Ela chega assim que Patricia (Chloë Grace Moretz) desaparece misteriosamente. Tendo um progresso extraordinário, com a orientação de Madame Blanc (Tilda Swinton), Susie acaba fazendo amizade com outra dançarina, Sara (Mia Goth), que compartilha com ela todas suas suspeitas obscuras e ameaçadoras. Refilmagem do clásssico de Dario Argento.

BOHEMIAN RHAPSODY: Diretor: Dexter Fletcher Elenco: Rami Malek, Lucy Boynton, Ben Hardy, Aaron McCusker e Aidan Gillen.
 Cinebiografia sobre o vocalista da banda Queen, Freddie Mercury.

A VOLTA DE MARY POPPINS: Diretor: Rob Marshall Elenco: Emily Blunt, Meryl Streep, Colin Firth, Julie Walters, Dick Van Dyke, Angela Lansbury e Lin-Manuel Miranda.
 Londres, 1930. Numa Londres abalada pela Grande Depressão, Mary Poppins desce dos céus novamente para ajudar Michael e Jane Banks, agora adultos, que passam por uma série de problemas.

THE WIFE: Diretor: Björn Junge Elenco: Glenn Close, Jonathan Pryce, Christian Slater.

Esposa do vencedor do Prêmio Nobel de Literatura repensa sua própria vida.

PANTERA NEGRA: Diretor: Ryan Coogler Elenco: Chadwick Boseman, Michael B. Jordan, Lupita Nyong'o.
A bilheteria do ano até o momento conjuga empoderamento negro, quadrinhos, e superpoderes.

 

And The Oscar Goes Too...

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Minha conhecida obsessão pelo Oscar instiga-me a ler os livros a serem adaptados para as telas.  Todo ano neste fórum faço um exercício de comparação entre literatura e cinema, e o que pode advir em matéria de Oscar. Ano passado, os livros eram ótimos, mas as adaptações não vingaram. Errei feio, mas não foi culpa minha. A categoria de Roteiro Adaptado foi bastante fraca e com poucos sérios postulantes. Veremos neste ano. Eis o que tenho a dizer, sem Spoiler!,  sobre:

 

On Chesil Beach: livro "Na Praia", Autor: Ian McEwan. Editora: Companhia das Letras. 136 páginas. Mais ou menos $25,90.

Num primeiro momento, quem iria querer ler um livro sobre virgindade? Parece um tema morto, nos nossos dias. É aí que entra o colossal talento de Ian McEwan ("Reparação", alguém?!) para deixar essa novela belissimamente escrita fiel aos primeiros anos dos anos 1960, e a deixá-la com um final de encher os olhos das pessoas que se julgam as mais modernas do mundo. É uma novela, portanto, é pequeno, a ação é diminuta, daria mais certo nos palcos que no cinema a meu ver, mas...Saoirse Ronan e Billy Howle têm tudo para arrasar.  Prevejo menos alvoroço, muito pelo tema, que, inclusive, me afastou anos da leitura deste livro. De qualquer jeito, outro personagem à feitura do rosto de época da Saoirse Ronan.

A personagem dela é musicista, talvez venha alguma música autoral em vez de só reproduções clássicas. O Figurino é assinado pela Suzie Davies, uma indicação, pelo excelente "Mr.Turner". 

Chances de Oscar: Muito pequenas, mas nunca se sabe. Atriz, Roteiro Adaptado, Trilha Sonora, Figurino.

The Goldfinch: livro "O Pintassilgo", Autora: Donna Tartt. Editora: Companhia das Letras. 792 páginas. Mais ou menos $43.

Dizem que a adaptação ficará para 2019, mas vou fazer força com o pensamento, pra que o filme seja lançado este ano. Porque o material é maravilhoso! Donna Tartt é uma das minhas escritoras prediletas: reclusa, estranha, lindíssima, talento nato. Apenas 3 livros. Um livro a cada década. Uma obra-prima a cada década. Este "O Pintassilgo" ganhou o Pulitzer. Os críticos brasileiros não gostaram muito, vejam só, ou seja: Podem ler sem medo! Como literatura é fenomenal, a descrição da adolescência do personagem protagonista, em Los Angeles, ao lado de seu amigo russo; maloqueiro; bêbado; inteligentíssimo;sexualizado a mais não poder; é simplesmente magnífica. Podem anotar a indicação para o "Stranger Things" e talentossísimo Finn Wolfhard. Sarah Paulson pegou um papel incrível também, da madrasta, dançarina, drogada, sexy e inescrupulosa. Ansel Elgort, o protagonista, num papel dificílimo de anti-herói.

Chances de Oscar: Ator Coadjuvante, Atriz Coadjuvante, Roteiro Adaptado, Fotografia (Deakins!).

The Bell Jar: livro "A Redoma de Vidro", Autora: Sylvia Plath. Editora: Biblioteca Azul. 280 páginas. Mais ou menos $31,90.

Único romance da poeta Sylvia Plath, publicado pouco antes de ela se suicidar, mas concebido ao longo de vários anos. Reflete um pouco das experiências pessoais da própria Sylvia: a importância que as revistas femininas tinham nos anos 1950, sua passagem por uma clínicia psquiátrica quando jovem, a agitação social da Universidade. Conta a lenta degradação psíquica de uma garota que tinha tudo para ser bem-sucedida. É muito bem escrito, com muita sensibilidade e inteligência. Livro mais famoso do que lido. Como a própria Sylvia.

Pela inesperiência da Kirsten Dunst na direção, não vejo muito como apostar em Oscar. Mas a Dakota Fanning será a protagonista.

Chances de Oscar: Nenhuma.

Where`d You Go Bernadette? : "Cadê você, Bernadette?", Autora: Maria Semple. Editora: Companhia das Letras. 376 páginas. Mais ou menos, $ 32.

Um livro hilário. Conta com uma protagonista misteriosa, desbocada, excêntrica, inteligente, que desaparece misteriosamente. Literatura de entretenimento, muito bem executada. Eu particularmente não sei de quem eu ri mais, se foi da personagem da Cate Blachette ou da personagem da Kristen Wiig. Indicações ao Globo de Ouro de comédia estão certas. A personagem da Cate Blanchette, como se nota, desaparece em parte importante da história, logo... 

A competição em Roteiro Adaptado estará fortíssima, então Linklater tem poucas chances de entrar.

Chances de Oscar: Atriz (se a temporada for fraca), Atriz Coadjuvante, Roteiro Adaptado (diminutas).

 

Vale dizer que os fortíssimos "Boy Erased", "Beautiful Boy", "Black Klansman", e "If Beale Street Could Talk" não foram lançados no Brasil.

Publiquem logo, porra!

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PREVISÕES MAIO/2018 (antes de Cannes)

BEST PICTURE
1. First Man
2. If Beale Street Could Talk
3. Backseat
4. Beautiful Boy
5. Widows
6. BlackKklansman
7. Black Panther
8. Boy Erased
9.The Favourite
10.Peterloo

BEST DIRECTOR
1. Damien Chazelle- First Man
2. Barry Jenkins- If Beale Street Could Talk
3. Adam McKay- Backseat
4. Steve McQueen- Widows
5. Felix van Groenigen - Beautiful Boy

BEST ACTOR
1. Steve Carell- Beautiful Boy
2. Christian Bale- Backseat
3. Ryan Gosling- First Man
4. Willem Dafoe- At Eternity’s Gate
5. Lucas Hedges - Boy Erased

BEST ACTRESS
1. Glenn Close - The Wife 
2. Saoirse Ronan - Mary Queen of Scoots
3. Melissa McCarthy - Can You Ever Forgive Me?
4. Viola Davis- Widows
5. Kiki Lane- If Beale Street Could Talk

BEST SUPPORTING ACTOR
1. Timothee Chalamet- Beautiful Boy
2. Sam Rockwell- Backseat
3. Richard E. Grant- Can You Ever Forgive Me?
4. Adam Driver- BlackKKlansman
5. Russell Crowe- Boy Erased

BEST SUPPORTING ACTRESS
1. Amy Adams- Backseat
2. Nicole Kidman- Boy Erased
3. Margot Robbie- Mary Queen of Scots
4. Claire Foy - First Man
5. Regina King - If Beale Street Could Talk

BEST ORIGINAL SCREENPLAY
1. Backseat
2. Peterloo
3. The Favourite
4. Everybody Knows
5. Roma

BEST ADAPTED SCREENPLAY
1. If Beale Street Could Talk
2. Widows
3. Beautiful Boy
4. First Man 
5. Boy Erased

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(Continuando)

BEST CINEMATOGRAPHY
1. First Man - Linus Sandgren
2. If Beale Street Could Talk - James Paxton
3. Peterloo - Dick Pope
4. Mary Queen of Scots - John Mathieson
5. Mary Poppins Returns - Dion Beebe

BEST COSTUME DESIGN
1. Black Panther - Ruth E. Carter
2. Mary Poppins Returns - Sandy Powell
3. Mary Queen of Scots - Alexandra Byrne
4. Peterloo - Jacqueline Durran
5. The Nutcracker and the Four Realms - Jenny Beavan


BEST PRODUCTION DESIGN 
1. First Man - Nathan Crowley
2. Peterloo - Suzie Davies
3. Fantastic Beasts 2 - Stuart Craig
4. The Nutcracker and the Four Realms - Guy Hendrix Dyas
5. Black Panther - Hanna Beachler

BEST FILM EDITING
1. First Man - Tom Cross
2. If Beale Street Could Talk - Joi McMillon & Nath Sanders
3. Backseat - Hank Corwin
4. Widows - Joe Walker
5. Black Panther - Debbie Berman & Michael Shawver

BEST VISUAL EFFECTS
1. Black Panther
2. Avengers: Infinity War
3. Solo: A Star Wars Story
4. First Man
5. Ready Player One

BEST MAKE UP AND HAIRSTYLING
1. Black Panther
2. The Nutcracker and The Four Realms
3. Mary Queen of Scots

BEST ORIGINAL SCORE
1. If Beale Street Could Talk - Nicholas Britell
2. First Man - Justin Hurwitz
3. Mary Queen os Scots - Max Richter
4. Peterloo - Gary Yershon
5. A Quiet Place - Marco Beltrami

BEST SOUND MIXING
1. First Man
2. Black Panther
3. A Star is Born
4. Mary Poppins Returns
5. A Quiet place


BEST SOUND EDITING
1. First Man
2. Black Panther
3. A Quiet Place
4. Solo: A Star Wars Story
5. Avengers: Infinity War

BEST SONG
1. All The Stars - Kendrick Lamar, SZA
2. ...
3. ...
4. ...
5. ...

BEST ANIMATED FEATURE
1. Incredibles 2
2. Isle of Dogs
3. Ralph Breaks The Internet
4. Early Man
5. Big Fish & Begonia

BEST FOREIGN LANGUAGE FILM
1. Everybody Knows - Spain
2. Roma - Mexico
3. ...
4. ...
5. ...
 

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Os filmes que vi e que têm alguma remota chance de indicação:

 

Lu Over the Wall

Chances: Melhor animação

Uma animação japonesa um pouco bobinha que apesar de estar na minha lista de possibilidades não deve ter chances reais de indicação.

 

Whitney Can I Be Me

Chances: Melhor documentário.

O filme não tem foco. Não sabe se quer falar sobre drogas, a suposta homossexualidade, ou sobre a falta de identificação dela como diz o título.

 

The Director and The Jedi

Chances: Melhor documentário.

Não trás elementos novos, nem aproveita fatores particulares da situação pra contar uma história mais interessante. É, entretanto, divertido ver a produção do Último Jedi do começo ao fim. 

 

Pantera Negra

Chances: Filme, Ator, Roteiro Adaptado, Cinematografia, Figurino, Direção, Montagem, Maquiagem, Trilha Sonora, Canção, Design de Produção, Edição de Som, Mixagem de Som, Ator Coadjuvante, Atriz Coadjuvante, Efeitos Visuais

A temporada de filmes de super herói começou muito bem. Personagens com conflitos interessantíssimos e uma composição maravilhosa de temas africanos pra contar a história de Wakanda. Bonito filme.

 

Avengers: Infinity War

Chances: Filme, Roteiro Adaptado, Cinematografia, Figurino, Direção, Montagem, Maquiagem, Trilha Sonoro, Design de Produção, Edição de Som, Mixagem de Som, Ator Coadjuvante, Efeitos Visuais

O tal MCU precisava de um filme como esse. Um filme que, com maravilhosa consistência temática, fala sobre os sacrifícios a que nos impomos/nos são impostos. E a diferença entre o bem e o mal é justamente esta: quem é o objeto do seu sacrifício?

 

Annihilation

Chances: Filme, Atriz, Roteiro Adaptado, Cinematografia, Direção, Design de Produção, Edição de Som, Mixagem de Som, Efeitos Visuais

O melhor filme da temporada até agora pra mim. Impossível alguém que já passou por processos autodestrutivos não entender, exatamente, do que trata o filme. Além disso, um design de produção e efeitos visuais acima de qualquer padrão. Lindíssimo. Apesar disso, chances remotíssimas de indicação.

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Cannes 2018 (calendário):

Palme D’Or
Everybody Knows – 8th May
Summer – 9th May
Yomeddine – 9th May
Cold War – 10th May
Sorry Angel – 10th May
Ash Is Purest White – 11th May
The Image Book – 11th May
Girls of the Sun – 12th May
Three Faces – 12th May
Happy As Lazzaro – 13th May
Shoplifters – 13th May
Asako I & II – 14th May
BlacKkKlansman – 14th May
At War – 15th May
Under The Silver Lake – 15th May
Burning – 16th May
Dogman – 16th May
Capernaum – 17th May
Knife & Heart – 17th May
My Little One – 18th May
The Wild Pear Tree – 18th May

Un Certain Regard
Donbass – 9th May
Rafiki – 9th May
Border – 10th May
Sextape- 10th May
The Angel – 11th May
My Favourite Fabric – 11th May
Angel Face – 12th May
Girl – 12th May
Die Monster Die – 13th May
Manto – 13th May
The Harvesters – 14th May
Little Tickles – 14th May
Euphoria – 15th May
Long Day’s Journey into Night – 15th May
The Dead & The Others – 16th May
Sofia – 16th May
The Gentle Indifference of the World – 17th May
In My Room – 17th May

 

xcannes-poster-uncropped.jpg.pagespeed.ic.MoDptgW3KL.jpg

(Still de Anna Karina e Jean-Paul Belmondo, em "O Demônio das Onze Horas, 1965 )

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Pablo VillaçaConta verificada @pablovillaca
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1) Todos Sabem - Farhadi reutiliza elementos de À Procura de Elly, mas sem o mesmo sucesso. Ainda é um bom filme (estamos falando de Farhadi, afinal) e Cruz, Bardem e Darín (subaproveitado) fazem seu melhor, mas falta peso dramático ao conjunto. 3/5 #Cannes2018FranceFestivalCannes2018.png

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Everybody Knows

First Reactions:

Beatrice Behn: You see the twist coming 20 minutes in, but hey, Farhadis Everybody Knows is still fun in its delicate deconstruction of a family. Bardem is having fun. So is Cruz but her role reduces her to the sobbing mama in the end. Too bad. It could‘ve used more viciousness.

Rebecca Keegan: Folks at the press screening didn’t seem too impressed by ‘Everybody Knows’ (there was audible laughter at a key dramatic reveal). Screw those snobs, audiences will enjoy this movie and so did I.

Jamie Graham: Secrets & lies, guilt & suspicion, resentments & forgiveness: Asghar Farhadi’s latest tale of domestic dysfunction Everybody Knows applies his usual forensic detail & serrated edges to a kidnap drama. Minor, but riveting

Robbie Collin: Farhadi gonna Farhadi, but this initially gripping ensemble whodunit ends up feeling a bit fussy and sexless. The definition of an OK start. 

Jordan Ruimy: “Everybody Knows” is Farhadi’s weakest film, by far, but that’s doesn’t mean it’s a bad movie. He continues to tackle the theme of family, but something is missing here. It doesn’t help the pacing is inconsistent and sometimes too glacial. Cruz and Bardem are solid.

Alex Billington: Everybody Knows – Everybody was bored. Big Spanish wedding turns into kidnapping thriller turns into big Spanish domestic drama. Didn’t grab me like Farhadi’s past films. Just wanted it to be over, and now it thankfully is.

David Ehrlich: a layered, absorbing kidnapping drama about secrets, the specter of money, and how such things can curdle into the kind of resentment that’s starving for any chance to make itself real. Bardem rules. Farhadi’s best since A SEPARATION. solid start to Cannes.

Peter Bradshaw: Asghar Farhadi’s Everybody Knows is an intimately painful and powerful drama, crucially anchored by three heavyweight performances – Cruz, Bardem, Darín.

Kyle Buchanan: People will say that Asghar Farhadi’s EVERYBODY KNOWS is a soapy thriller with big stars, melodramatic situations, and vacation-friendly locations. But… that’s why I liked it! I’m not gonna begrudge Asghar his glow-up.

Xan Brooks: Everybody Knows uncorks Cannes 2018  with a flourish, whips up a storm, spills some wine down its front. Cruz & Bardem play Farhadi’s kidnap saga with conviction, though the script is overheated & histrionic

Jordan Hoffman: EVERYBODY KNOWS: Another rock solid episode of “The Young & The Restless” from Asghar Farhadi. The guy makes soaps! Is this a crime? I give it a B. 

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Então parece ter caído um possível indicado a filme estrangeiro, como no ano passado caiu o do Haneke em Cannes também. Mesma história, diretor com bom histórico, fazendo filme que parecia vir forte mas com recepção fraca no festival.

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Birds of Passage

First Reactions

Wendy Ide: Birds Of Passage is terrific. Part narco-crime thriller, part magical realist family drama and an allegory for Columbia’s recent history. Also it’s about a blood feud, one of my all time favourite sub-genres

Christina Newland: Birds of Passage was a stunner. A dedicated ethnography of tribal loyalty & the encroaching material world. Family talismans and gold Rolexes fighting for space in the frame.

Emma Stefansky:  I’m not a big tweet-reviewer but I will say BIRDS OF PASSAGE further cements Ciro Guerra as one of the most fascinating, evocative storytellers working today. lots of bugs in this

Mani Lazic: Boogie Nights in Colombia but with much less disco music! The downward spiral of drug trade and…. capitalism, babyyyy!!!  

Sophie Monks Kaufman: The scope of BIRDS OF PASSAGE is magnificent powered by details of a lesser-seen way of life & a lesser-told story. From an indigenous desert family to the Colombian drug trade, from tradition to capitalism, this movie has it all, including looks, personality & flair.

Jessica Kiang: Well, BIRDS OF PASSAGE is an actual masterpiece.

Elena Lazic: By focusing on an indigenous family initially existing out of capitalism, BIRDS OF PASSAGE takes the classic story of the inevitable downfall of drug families at its roots: this is a brilliant study of the perniciousness of capitalism & its psychological, moral ruin.

Charles Bramesco: BIRDS OF PASSAGE: revitalizes the tropes of gangster film, particularly the deleterious seductions of power and money, through its fascinating cultural context. Also, light coprophagia!

Jason Solomons: Entranced by Birds Of Passage the fine Colombian film opening Quinzaine, a mystical, ethnographic thriller epic about the origins of drugs cartels and the corrupting influence of capitalism, as if National Geographic made Narcos

Tim Grierson: After the transporting EMBRACE OF THE SERPENT, this familiar gangland crime drama feels a bit like a letdown. Still, some gorgeous images and precise cultural details compensate.  

James McAllister: Plenty to unpack in Ciro Guerra & Cristina Gallego’s brilliant BIRDS OF PASSAGE. A sprawling crime saga with shades of Coppola & Scorsese, but told with a soulful eloquence. A bit long, perhaps, but it’s a film that rewards your time.

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Yomeddine

First Reactions:

Emma Stefansky: YOMEDDINE strays far too close to poverty/disability porn to responsibly follow through on its feel-good themes; still, the first ever movie I’ve ever seen with a lead actor who actually has leprosy

Agnes Poirier: Always great to see a first feature in competition,  especially from Egypt… Alas Yomeddine (about a Coptic Leper and orphan boy on a quest) is too well-meaning and predictable to leave any lasting impression.

Jamie Graham: a leper and a boy journey along the Nile on a pony and cart in search of family. Opening 4 scenes set in a garbage dump, leper colony, orphanage & Department for Mental Disease, but unfolds as a gentle, often humorous road movie with an eye for the surreal 

Heather McIntyre: There’s so much to love and admire in Yomeddine. A beautiful film about humanity and friendship with an incredible soundtrack. Big cheers and round of applause from the audience

Adam Landon: I need to talk about the the genius that is Yomeddine. What a beautiful brilliant film by A.B. Shawky, so many important issues addressed, but firstly wanted to say how excellent it was to see actors with disabilities working on screen. Go see this film… 

David Ehrlich: YOMEDDINE is a Very Nice Movie about a man with Leprosy and an orphan named Obama riding a donkey called Harby across Egypt in search of family and EMOTIONS. It’s very sweet. Harrrrrbbyyyyyyyy!

Jordan Farley: Liked A.B. Shawky’s Egyptian road movie Yomeddine for reminding me of David Lynch’s The Straight Story, and a hugely empathetic performance by Rady Gamal. Never quite wows, but it’s a warm, bittersweet trip

David Jenkins: Yomeddine tells us that lepers are humans too [cue 18th travelling musical montage]. A nice film, but not really a good film.

Jordan Ruimy: Odd that Cannes would select a generic directorial debut like “Yomeddine” to be part of competition. Don’t get me wrong, it’s a bittersweet, sometimes touching road trip movie about a leper, an orphan and their search for family. Think The Straight Story set in Egypt.

Niels Putman: A. B. Shawky’s YOMEDDINE is a humane & bittersweet roadtrip parable about a leper and an orphan looking for family redemption. Impressive at times, but too sentimental also. Incredible group of non-actors though. Could see this win something big.

Jordan Hoffman:  YOMEDDINE is strong in a STRAIGHT STORY way, tho the music gets a little BEASTS OF THE SOUTHERN WILD-ish at times. I liked it overall.

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Leto (Summer)

First Reactions:

Alicia Malone: 80s Leningrad punk rock by Kirill Serebrennikov, who is currently under house arrest in Moscow. Filled with vibrant energy, tinges of sadness, moments of freedom through great music. A testament to finding resistance where you can. My fave so far!  

Beatrice Behn: Kirill Serebrennikov’s Leto is pure melancholy, diving into the 1980s Leningrad punk rock scene in a nostalgic way, yet still fueled with loads of politics. He might be under house arrest, but this film is and its music are dancing, albeit to a sad note. Loved it.  

Alissa Wilkinson: I like LETO! It’s charming even after it loses steam.

Nellie Thornley: Lots of people won’t like LETO, and it’s style/subject/slight cheesiness and it is far from perfect, but I enjoyed it just fine

David Ehrlich: LETO is sort of 24 Hour Party People for the early ’80s Leningrad underground rock scene. Exuberant, shapeless, gorgeous long-takes galore, a “psycho killer” singalong, the end of an era. I dug it.

Guy Lodge: Kirill Serebrennikov’s LETO is not a Jared Leto biopic, but it’s closer than you might think: an opaque, exhausting, sometimes impressive, often misjudged dive into the Leningrad rock scene. Not my favourite of his.

Alex Billington: Whatttt! Leto is a Soviet, 80s rock Inside Llewyn Davis meets Trainspotting directed by a Russian Edgar Wright. It’s awesome. Easily my favorite at Cannes so far.

Michael Leader: Russia’s Velvet Goldmine. An ambivalent musing on the musical magpies that pilfered the spirit of punk and rock – within committee-approved boundaries. Uneven and aimless, but I love music flicks that double as cultural criticism.

AA Dowd:  Set against the rock scene of early-’80s Leningrad, Russian flashback LETO has a certain bittersweet charm. But it’s familiar and often just really corny, especially when it comes to its winking, singalong references to famous artists.

Gregory Ellwood:  Leto is like those early days of the Beatles movies that really only emotionally resonate if you know the music or have an emotional connection to the band. Some fun visual sequences but basically a love triangle that’s a bore.

Xan Brooks:  Many goosebump moments in Kirill Serebrennikov’s Leto, a rambling, languorous account of Leningrad punks in the USSR. Shades of Irma Vep & Summer Palace in its DNA. Liked this a lot

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CRITICS WEEK Sauvage

First Reactions:

Christina Newland: Sauvage, a French drama about a young male prostitute, was visceral, darkly funny & perfectly cast. See that!

Ella Kemp: I loved SAUVAGE. It’s a film so full of love, with firecracker performances (Félix Maritaud from BPM is phenomenal) and such a wise, funny script. And it’s not just ‘this is great for a first feature’ – it’s so much greater than a lot of other more mature films. 

Stephanie Belpeche: Remember his name: Félix Maritaud, the star Sauvage. Camille Vidal-Naquet tells the hell of male prostitution and explodes the ultimate taboo. Acting Award in sight? 

Richard Lawson: Though full of agonizing coughing fits and one harrowing butt plug scene, street hustler drama SAUVAGE is actually quite poignant. Plus, in this post-BPM world you simply must have a handjob scene set in some sort of medical facility

Aldo Alvareztostado: Sauvage is the story of a young male prostitute in urban France that struggles to find a balance between his search for love and his own wild nature. Borderline exploitation of the addressed topic and of its outstanding lead, Félix Maritaud. 3/5 stars 

Elena Lazic: Yep, Camille Vidal-Naquet’s SAUVAGE is fucking amazing — literally.

Niels Putman:  Vidal-Naquet’s SAUVAGE is brutal, explicit & almost aimless. With a protagonist so drenched in self-destruction (for which no real reason is given), this is a tough sit, despite some clever, light-hearted moments. A film about bodies and… freedom – I guess?

Fabien Lemercier: Camille Vidal-Naquet immerses us in a world of male prostitution where brutality, freedom of choice and the search for love endlessly collide. This is a film which takes no prisoners

Lawrence Garcia: Fraudulent and retrograde when it isn’t unpleasant for its own sake. Even the club scenes aren’t that good. *Now* I’m annoyed I missed the Loznitsa.

Another Gaze: Camille Vidal-Naquet’s SAUVAGE is an unprecedented look at gay male sex work that doesn’t fetishise or criminalise. No police appear – we see a community managing, organising itself. And we follow a body that traverses numerous others without being degraded by filmmaker/viewer.

Olivier Ubertalli: You have to have the heart and the guts to watch “Sauvage”, the first feature film by Camille Vidal-Naquet that evokes a young gay prostitute. We discover the talent of actor Felix Maritaud

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Cold War

First Reactions:

Heather McIntosh: I enjoyed every single moment of COLD WAR. Joanna Kulig was phenomenal in the central role and the film is so expertly realised by Pawlikowski. I already can’t wait to watch it again

Alicia Malone: COLD WAR: wow, now my fave of the fest. Each frame is exquisite, in the way that only Pawel Pawlikowski can do, he is a master of black & white. Powerful love story told over 15 or so years, throughout Europe in the early 50s. Gorgeous music. Ripped my heart out  

Anne Thompson: “Ida” Oscar-winner Pawel Pawlikowski’s stunning black-and-white 50s romance “Cold War” — a likely Palme d’Or and Oscar contender as well — is about how fucked-up national politics prevent you from being your authentic sel

Christina Newland: This morning’s screening of Pawlikowski’s Cold War was a tonic. Ideological pressure, Berkeley-lite chorine uniformity, and cold melancholic beauty are all in the service of an open-hearted romance. It’s not perfect – maybe baggier than Ida – but it’s gorgeous. 

Jessica Kiang: I liked it slightly more than my peers, which makes me feel better about liking IDA slightly less.

David Ehrlich: they ain’t kidding about the cold part. It’s no IDA, I’m afraid. COLD WAR, from IDA director Paweł Pawlikowski, is straight up one of the bleakest love stories i’ve ever seen. A broken romance about broken people in a broken country. i kinda liked it?

Guy Lodge: Very taken with Pawlikowski’s lovely COLD WAR: returning to the aesthetic of IDA, but to jagged, jazzier effect.

Aldo Alvareztostado: Cold War follows an unstable romance set in the Polish music scene during the post-war years. Pawlikowski’s formalist take on the story is overshadowed by Joanna Kulig’s performance. Soundtrack is mesmerizing. 3/5 stars

Joseph Owen: Zimna Wojna (COLD WAR) is an elegant, elliptical study of love and earnest satire of historical metaphor. Pawlikowski takes the tired, wearying trope of the older man and younger girl across a monochrome European vista. Brief, succulent, slightly incurious.

Charles Bramesco: the first truly great film I’ve seen at Cannes this year. Delicate and forceful when it’s supposed to be, a tragic romance that reminds you why we find tragedy romantic.

Donald Clarke: Paweł Pawlikowski’s COLD WAR is absolutely gorgeous and utterly captivating. Doesn’t bother selling its central romance. Allows you to wallow in its flinty beauty. Joanna Kulig is a star.

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Three Faces

First Reactions:

Farah Nayeri: so many beautiful and poetic moments (and only a few longueurs). Made me miss home. And looked, in parts, like a silent homage to the late Kiarostami? Like that last scene with the winding dirt road in the hills…

Beatrice Behn: After Taxi, 3 Faces is yet another simple but thoughtful non-film by Jafar Panahi. So much storytelling with so little. It‘s almost as if the limitations put on him, make him an even better director. Still, Let’s hope he’ll gain artistic freedom again. 

Jamie Graham: Patriarchal oppression, suicide, blurring of fact and fiction, lots of driving through rural landscapes & talking to villagers out of rolled down windows: Jafar Panahi’s Three Faces is v Iranian, v good. Strong performances by Behnaz Jafari and Panahi as themselves 

Another Gaze: Jafar Panahi’s ‘Three Faces’ (‘Se rokh’) is a distinctly feminist film as Panahi, as actor, facilitates and sets the story in motion without dominating. There are whole scenes where he (and therefore we) stay in the car while women talk behind closed doors

Caspar Salmon: Panahi in fable mode, distilling his story down to an elemental level with elegance and wit. Political, gently funny, whimsical but unyielding; Panahi’s filmmaking is slow & focused.

Alex Billington: Jafar Panahi’s new film starts as an amusing mystery then turns into an odd commentary on rural life and the dreams of “entertainers”. Has a poetic feel. But don’t really know what to make of it.

David Ehrlich: more expansive & elusive than Panahi’s other post-arrest stuff, as much a tribute to Kiarostami’s rural films as it is a cheeky meditation on the borders and boundaries of the modern world. a gentle pleasure, as expected.

David Jenkins: Jafar Panahi’s 3 Faces is landscape study, women’s picture and ‘what is cinema?’ inquiry rolled into one, plus a moving homage to late brother-in-arms Abbas Kiarostami. Quite lovely.

Mikko Pihkoluoma: Perhaps not as exhilarating as Taxi Teheran, this is a more somber piece nearly on the same level. The story unfolds after a suicide video is sent to Jafari’s phone and together with Panahi they drive to the village to find out what happened.

Fabien Lemercier: perfectly written and done, especially in the complicated situation of the iranian filmmaker, but not so captivating. Free Jafar Panahi and let him make bigger films again

Jordan Hoffman: Panahi’s THREE FACES rules. RULES! I recognize that this isn’t very eloquent but I need more time on this. 

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The Image Book

First Reactions:

Alicia Malone: Jean-Luc Godard’s collection of images about trains, war, Arab nations & more – from movies & real footage – w/ narration from Godard, sudden bursts of music & long silences. Some will love, some not, I feel like it will work best as the museum exhibit

Alissa Wilkinson: I think the most useful thing I have to say about Godard’s THE IMAGE BOOK is it faintly calls THE WASTELAND to mind. But not (at least to my mind) in the good way.

Christina Newland: Jean-Luc’s Le Livre D’Image is a kamikaze inquiry into representation + violence (I think?). It has none of the thesis and thrust of Goodbye to Language, but its oscillations between the hopeful & the apocalyptic are pretty interesting. 

Caspar Salmon:  Godard in high troll mode – garish montages, jarring breaks in sound and image; facile, puerile, funny, exciting, and thought-provoking when a political discourse finally breaks through the havoc. 

Donald Clarke: Just saw THE IMAGE BOOK by JLG. More bellowing at crappy resolution footage from 1950s films and of various imperialist atrocities. What do you want me to say?

Peter Howell: Jean-Luc Godard is a lion in winter, fairly roaring with this visual essay about life on planet Earth. Movie clips, newsreels and his trademark slogans are in this raging montage, making him more editor than director this time, but all the more potent.

David Ehrlich:  Jean-Luc Godard’s READY PLAYER ONE.

Xan Brooks: Damned if a tweet is going to justice to the Godard. A fiery message in a bottle sent from Prospero’s island; a cut-up prose poem about death & trains & US imperialism. Often indecipherable, always beguiling

Peter Bradshaw:  Jean-Luc Godard’s Image Book much more visceral and fierce than I thought – an essay-film with a body language of a horror movie.

Mark Cosgrove: Gnomic, exuberant, anarchic – JLG with cinephile punk energy probes the nature of the moving image and its relationship with reality and politics in Le Livre D’image. Sound and image as an immersive poetic assault course – brilliant!

Joseph Owen: Godard’s Le Livre d’Image (IMAGE BOOK) is an undergraduate thesis run amok. No referencing, no clear argument, emphatic aphoristic claims, and a wild tangent on the Arab World. A fractured, disorientating law and literature project on order and image. Great! 

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Ash Is Purest White

First Reactions:

Jamie Graham: Touch of Sin director Jia Zhang-ke delivers an intimate romantic epic in Ash is the Purest White, the changes in his protags’ fortunes backdropped by sweeping social shifts. Organic storytelling. Tao Zhao ace. Steadily builds towards greatness then last 20mins wobbles 

Beatrice Behn: Jia Zhang-Ke’s Ash Is the Purest White (江湖儿女) starts mafia, guns and power and then turns into a classical melodrama. A shame, the female lead is strong, clever, fearless. Wanted her to become a mafia boss herself, but alas, she went 1950s weepy lady on me.

Justin Chang:  Whatever you may think of it — and I think it’s pretty damn terrific — Jia Zhangke’s ASH IS PUREST WHITE is easily the best food movie of Cannes 2018  so far. Do not see this one on an empty stomach.

Alex Billington: Wow. Jia Zhang-ke’s sprawling drama of human connection is part gangster film, part romantic epic, ultimately about how everything changes around us but we never change ourselves. This one is deep, very deep.

Jordan Ruimy:  Jia Zhang-ke’s ASH IS PUREST WHITE is a fascinating, sprawling, violent, and, ultimately, romantic look at a low-rent underclass of aspiring gangsters in Eastern China. Underwhelming final few minutes, but overall solid. Tao Zhao is a contender for the actress award.

Peter Bradshaw: In Ash Is Purest White, the always surprising Jia Zhang-ke gives us a fascinating romantic tragedy from China’s aspirational-gangster classes – with an eerie futurist sheen. What an intriguing film.

Charles Bramesco: perhaps the finest “stop snitching” film to ever come out of China. Makes a clean companion with MMD in its elliptical timeline, its charting of wide scale change, and its delightful disco dancing.

Tim Robey: Keeps lifting off; keeps landing again. Zhao Tao mesmerises, especially when she goes it alone in fab middle stretch. But should we be concentrating on her broken dreams, or our own?

Jon Frosch: Another knockout female lead performance at Cannes 2018 : Zhao Tao in Jia Zhangke’s rich, slow-simmering epic character study ASH IS PUREST WHITE.

David Ehrlich: ASH IS PUREST WHITE is Jia Zhangke’s greatest hits, a meandering rehash from a filmmaker who feels stuck in place. It’s a good movie but a big disappointment. At least it’s a *killer* showcase for Zhao Tao!

AA Dowd: Fascinates me that Jia Zhangke, a filmmaker I used to associate (positively!) with rigid austerity, has made a movie as self-referential, loopy, and surprisingly funny as ASH IS THE PUREST WHITE.

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(Pintou o favorito?)

Happy As Lazzaro

First Reactions:

Agnès Poirier: Just seen Cannes 2018  first masterpiece : Lazzaro Felice by Italian film director Alice Rohrwacher. Palme d’Or!

The Syndicate: Happy as Lazzaro is magnificent. A unique blend of fantasy and drama that imagines if the spirit of kindness and compassion never leaves our past and present. A film to think about and marvel at its poetic meaning.

Tom Bond: gentle class warfare comedy with a heart of gold. Too pure for this cruel cruel world

Robbie Collin: Quick FYI: Alice Rohrwacher’s Happy as Lazzaro is a total dream, nuanced and elusive, made with mesmerisingly assured technique, and the best thing in competition so far 

Donald Clarke: I suppose you can excuse the randomness in Rohrwacher’s HAPPY AS LAZZARO by mentioning “magic realism”. But, for all the many strong, earthy moments, I found it hard to care.

David Ehrlich: I’m not sure if the first hour had to be *quite* that slow, but this is pretty monumental stuff. Alice Rohrwacher’s rustic touch (and usual concerns) abruptly blooms into some brilliant magical-realism. Alba R is a legend. There’s a tiny dog in a cone! 

Simon D Santiago: In Lazzaro Felice Alice Rohrwacher plays again with the realist and magical tones of her (overrated) first film with much more satisfying results. Her roots are deep inside the Italian filmic tradition but her voice is truly original. Beautiful

Giovanni Marchini: LAZZARO FELICE is a jewel, an enrapturing reminder of the delicate humanism that was once a trademark of Italian cinema.
 
Alexandre Janowiak: I’ve been stunned by the magnificent Lazzaro Felice by Alice Rohrwacher. An intoxicating mystic tale, a kind of candid of modern times, of a sublime sweetness, purity and sensibility. The best movie of Cannes 2018 yet.

Victor Blanes Pico: LAZZARO FELICE, by Alice Rohrwacher, is a precious genius wrapped in a photograph that looks like a dream. Its first hour is the best we have seen in this festival, and although towards the end is lost a little, the result is a dazzling and different film. 

Tomasso Tocci: I’ve said before how important I think the Rohrwacher sisters are for Italian cinema (shout out to Laura Bispuri, too), but LAZZARO FELICE is not the triumph I was hoping for. Cringed at that last sequence.

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Girls Of The Sun

First Reactions:

Melissa Silverstein: Thunderous, long ovation following Girls of the Sun. It was the kind of movie they say women can’t make. A war story. Epic. Big scale. All told through the eyes of women. The epitaph read: to the ones forgotten by history by those who shape it.” Eva Husson is the real deal.

Alicia Malone: so powerful. A feminist war movie based on the true story of an all-female Kurdish soldier unit fighting ISIS. Heartbreaking, suspenseful filmmaking by Eva Husson. Golshifteh Farahani once again is excellent. Loved it! 

Wendy Ide: Girls Of The Sun is tone deaf, clunky and naive. Score is a disaster and Bercot’s western journo is a plot device rather than a character.

Christina Newland: Girls of the Sun was terribly didactic, with some rather nasty & manipulative storytelling devices. Bad filmmaking in service of a good issue, which makes it difficult to argue with. Not impressed.

Nadia Neophytou: Girls of the Sun – one of the only 3 films in competition directed by a woman, and so a vital addition to the Cannes 2018  lineup. A little heavy-handed at times, but a powerful, necessary film about women in battle and those who tell their stories.

Alissa Wilkinson: Several times I thought GIRLS OF THE SUN was about to run off the rails. But in the end, it works, and it’s moving.

Jamie Graham: Eva Husson’s Girls of the Sun is the true story of a battalion of Kurdish women who fought to take back their town from extremists. Harrowing, suspenseful, moving. Sure to compete for prizes. Golshifteh Farahani is superb 

David Ehrlich: a little too much paprika on the sandwich where none would have been nice, but Eva Husson is one hell of a filmmaker. Surefire Palme contender.

Peter Bradshaw: Eve Husson’s feminist war movie Girls Of The Sun is impassioned, suspenseful, angry – based on the true story of an all-female Kurdish combat unit fighting to reclaim territory from the incel-fascist rape opportunists of ISIS.

Eric Kohn: GIRLS OF THE SUN just leapt to the top of the Palme race with its HURT LOCKER-esque suspense and tough women leads.

AA Dowd: Eva Husson’s GIRLS OF THE SUN, about an all-female Kurdish platoon fighting back against extremists, is bombastic white-elephant art with a righteous action movie buried somewhere inside. Husson has chops, though. Can she do SICARIO 3? 

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