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Kate Ryan

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  1. Oscar 2009: Previsões

    in Bugigangas - Quarto da Bagunça

    Posted


    Blindness B+
    By Emanuel Levy



    Cannes Film Fest 2008--"Blindness,"
    Fernando Meirelles' new film, is an honorable and challenging follow-up
    to his spectacular debut, "City of God," and the highly accomplished
    "The Constant Gardener," both of which were Oscar-nominated.



    An ambitious rendition of the best-selling book (of the same title) by
    Nobel Prize winner Jose Saramajo, "Blindness" is a timely, socially
    significant, and gloomy film that reflects our zeitgeist in the post
    9/11. As such, the movie is a most pertinent selection as opening night
    of the 61st Cannes Film Festival. Miramax will release the film
    domestically and Focus Features internationally in the fall.



    "Blindness" is a "perfect fall" picture in more senses than one, the
    kind of fare that deserves serious consideration by critics and viewers
    (and perhaps Oscar voters as well), even if it doesn't fully fulfill
    expectations from such collaborators as author Saramajo, director
    Meirelles, screenwriter Don McKellar, and a superlative cast, headed by
    two of the best actors working today: Julianne Moore, who carries the
    film solidly on her fragile shoulders and Mark Ruffalo.



    Thematically, inevitable comparisons will be made with "The Constant
    Gardener," Meirelles' 2005 film, which was also a political parable
    centering on a troubled marriage, and even more so with Michael
    Haneke's superior existential-apocalyptic saga, "Hour of the Wolf,"
    which world premiered at the Cannes Festival several years ago, but few
    people saw in the U.S. (It was made by Haneke before "Cache" and his
    English-speaking remake, "Funny Games").



    At once a realistic and a metaphoric, "Blindness" tells the compelling
    story of humanity during an epidemic of mysterious blindness, but it
    could equally apply to any epidemic, be it AIDS or other lethal virus.
    Indeed, at its good moments, which are plentiful, the saga explores
    human nature at its most complex and ambiguous, the positive and
    negative dimensions brought out by a disastrous crisis, one that leads
    to selfishness, opportunism, indifference, and murder, but also
    encourages empathy and sympathy, love and understanding—above all the
    will to survive and persevere at all costs (and I mean all costs).



    Philosophically, "Blindness" raises such significant questions of the
    fine line between humanity and inhumanity, order and disorder, or at
    what point, individuals cease to behave like human beings and turn into
    the kind of animals that are solely concerned with survival.



    The film's first reel is nothing short of brilliant, replete with
    mesmerizing ideas, images, and sounds. After a series of close-ups of
    traffic lights (with red being the most prominent), an overhead shot
    reveals a traffic jam with hundreds of cars on busy highways. A sudden
    scream of an Asian male while driving, "I am getting blind," leads to
    good behavior from a stranger (Don McKellar), who comes to the rescue
    with an offer to drive the shocked victim; later, he will be accused of
    stealing the Asian's car.



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    Significantly, the chaos and later full catastrophe begin suddenly, in
    a flash, as one man is instantaneously struck blind, with his whole
    world changing into an eerie, milky haze. Finding the right visual
    corrals to illuminate the film's central theme, Meirelles, his
    brilliant cinematographer Cesar Charlone, and sharp editor Daniel
    Rezende often pause, turning the screen into an all-white or all-black
    canvas, an imagery that accompanies an interesting argument about our
    popular perception of blindness—does it signify whiteness or blackness,
    colors and symbols that feature prominently throughout the narrative.



    In the first and best act, half a dozen characters are explored in
    terms of their status, sight, and vision. With the exception of a
    single woman (Julianne Moore), one by one, they lose their eye-sight,
    forcing them to encounter the same problems and experience the same
    unsettling fate. First, there's the seemingly good Samaritan who gives
    the Asian a lift home, then there is a doctor (Mark Ruffalo), an
    accountant (Maury Chaykin), a young boy (Mitchell Nye). It's
    noteworthy, that the characters have no specific names. They are
    identified as "First Blind Man" (Yusuke Iseya), "First Blind Man's
    Wife" (Yoshino Kimura), "Woman with Dark Glasses" (Alice Braga), "Man
    with Black Eye Patch" (Danny Glover), and "Bertender" (Gael Garcia
    Bernal), who becomes the King of Ward Three during the second half of
    the story, when all the blind people are quarantined.



    As the contagion—now labeled the "White Blindness"—spread, panic and
    paranoia set in across the city. The government, ineffectual and not
    knowing how to handle such crisis, takes the easy way out: It decides
    to round up and quarantine the newly blind within a crumbling,
    abandoned mental asylum.



    Early on, a big "secret" is revealed (and I am not spoiling anything),
    that the doctor's wife is not blind. Despite her husband's fears, she
    is not been affected. Loyal and loving, she insists on going with him
    to the hospital and later to the asylum, pretending to be blind. Soon,
    she becomes not only the eyewitness to the events, but also a guide and
    a leader, finding courage and other resources she didn't know she had.
    Moore's character is the closest the film has by way of a lead
    protagonist and POV: Most of what we see is through her own eyes.



    Signs of a loving yet troubled marriage, just like in "The Constant
    Gardener," though for a different reason, are disclosed in the first
    chapter. The situation becomes more tense and worse, when the doctor
    has hard time accepting her, as he says, as his mother or nurse,
    anything but a wife. Later, the doctor is caught by his wife having sex
    with another blind woman, and still later, all the women, including the
    doctor's wife, are requested (actually proffered) to provide sexual
    services to the leaders of Ward Three as a condition for getting food,
    which is in short supply.



    Tale's second section is full of details of the kind of organization
    that emerges within the asylum, one with peculiar rules and regulation
    as to sanitation, food, relationships, and even music (on AM
    radio)—anything that will land the place a semblance of order or
    ordinariness, which are of course an impossible tasks.



    In time, the doctor's wife leads a makeshift family of seven
    individuals on a journey through horror and love, depravity and beauty,
    sacrifice and forgiveness, sadomasochism and altruism, and warfare and
    wonder, binary concepts that are deliberately juxtaposed and then
    vividly illuminated.



    We know that it's a matter of time before shotguns are heard, some
    victims will carelessly die (they are described by the new blind rulers
    as "dead fish," anonymous faces). Suffice is to say that there is an
    effort to break out of the hospital and go back into reality, which is
    now one huge devastated space, populated by homeless people.



    As noted, "Blindness" is a tough and demanding picture, containing some
    powerful scenes that are hard to watch. Thought-provoking, the movie
    asks without making value judgments viewers to take a stance for
    themselves about behavior during extreme crises, and to contemplate on
    the dangerous fragility of social order and ultimately the exhilarating
    collective spirit of humanity.



    Literary Source



    In 1995, the acclaimed author Jose Saramago published the novel
    "Blindness," an apocalyptic tale about a plague of blindness ravaging
    first one man, then a whole city, then the entire globe—with
    increasingly devastating fury and speed. Though the story was about a
    loss of vision, the book opened the eyes of its readers to a new,
    revelatory view of the world.



    The book was celebrated by critics as an instant classic, a magnificent
    parable about our disaster-prone times and our metaphoric blindness to
    our sustaining connections to one another. It became an international
    bestseller, and also led, along with an accomplished body of equally
    thought-provoking literature, to Saramago receiving the 1998 Nobel
    Prize for Literature.

  2. Revista SET

    in Críticas e Publicações do Cinema em Cena

    Posted

     

    Gostaria de parabenizar o estúpido que resolveu dar uma de engraçadinho e arruinar Na Natureza Selvagem com um spoiler gigantesco gratuitamente' date=' na crítica de Speed Racer. É o cúmulo do descabimento. Eu estava louco para assistir, mas não passou na minhacidade.

     

    Revistinha de m****, que não respeita os leitores. Acham que todos leram o livro ou puderam ver o filme nos cinemas? 14

     

    [/quote']

     

     

    Compartilho com Gusmão Raimundo minha indignação, estava louca para assistir Into the wild, e a set de maneira totalmente sem motivo ou NOÇÃO detonou e contou o final do filme!!Pra que isso??Escrevi para eles reclamando, espero um pedido de desculpas pelo menos, pq estou seriamente pensando e parar de comprar a revista.E o pior, o que tem a ver Na Natureza Selvagem com Speed Racer??1814181411070707

     

  16. Notícias Sobre Harry Potter

    in Harry Potter

    Posted

    OdF recebe seis indicações ao Empire Movie Awards

     

    //Por Daniel em 04-02-2008 5:56

     

     

     

     

     

     

     

    borda2.gifempireawards.jpg

    Mesmo após 7 meses, o filme Harry Potter e a Ordem da Fênix continua sendo indicado a várias premiações internacionais. De acordo com a BBC, dessa vez foi a vez do quinto longa da série receber, ao todo, seis indicações do Empire Magazine Movie Awards. Confiram abaixo as categorias:

    •
    Melhor Filme
    , ao lado de “
    Zodíaco
    ”, “
    O Ultimato Bourne
    ” e “
    O Assassinato de Jesse James pelo Covarde Robert Ford
    ”;

     

    •
    Melhor Filme: Ficção Científica/Fantasia
    , ao lado de “
    Sunshine - Alerta Solar
    ”, “
    Stardust
    ”, “
    Transformers
    ” e “
    300
    ”;

     

    •
    Melhor Ator
    por
    , ao lado de Simon Pegg (
    Hot Fuzz
    ), Matt Damon (
    O Ultimato Bourne
    ), James McAvoy (
    Desejo e Reparação
    ) e Gerard Butler (
    300
    );

     

    •
    Melhor Atriz
    por
    , ao lado de Keira Knightley (
    Desejo e Reparação
    ), Katharine Heigl (
    Ligeiramente Grávidos
    ), Angelina Jolie (
    O Preço da Coragem
    ) e Cate Blanchett (
    Elizabeth
    );

     

    •
    Melhor Trilha Sonora
    (
    ), ao lado de “
    Desejo e Reparação
    ”;

     

    •
    Melhor Diretor
    (
    ), ao lado de “
    Desejo e Reparação
    ”.

    Até o momento, a lista completa dos nomeados às categorias de Melhor Trilha Sonora e Melhor Diretor ainda não foi divulgada.

    As votações serão abertas aos leitores e assinantes

    da revista Empire através do seu site ofical. A cerimônia de premiação

    será apresentada pelo comediante Rob Brydon e realizada no dia 9 de

    março no Hotel Grovenor House, em Londres.

     

  19. Oscar 2008: Previsões

    in Oscar

    Posted

    80th Academy Awards

    Announced Categories

     

    Performance by an actor in a leading role

     

    George Clooney in "Michael Clayton" (Warner Bros.)

     

    Daniel Day-Lewis in "There Will Be Blood" (Paramount Vantage and Miramax)

     

    Johnny Depp in "Sweeney Todd The Demon Barber of Fleet Street"

    (DreamWorks and Warner Bros., Distributed by DreamWorks/Paramount)

     

    Tommy Lee Jones in "In the Valley of Elah" (Warner Independent)

     

    Viggo Mortensen in "Eastern Promises" (Focus Features)

     

     

     

    Performance by an actor in a supporting role

     

    Casey Affleck in "The Assassination of Jesse James by the Coward Robert Ford" (Warner Bros.)

     

    Javier Bardem in "No Country for Old Men" (Miramax and Paramount Vantage)

     

    Philip Seymour Hoffman in "Charlie Wilson's War" (Universal)

     

    Hal Holbrook in "Into the Wild" (Paramount Vantage and River Road Entertainment)

     

    Tom Wilkinson in "Michael Clayton" (Warner Bros.)

     

     

     

    Performance by an actress in a leading role

     

    Cate Blanchett in "Elizabeth: The Golden Age" (Universal)

     

    Julie Christie in "Away from Her" (Lionsgate)

     

    Marion Cotillard in "La Vie en Rose" (Picturehouse)

     

    Laura Linney in "The Savages" (Fox Searchlight)

     

    Ellen Page in "Juno" (Fox Searchlight)

     

     

     

    Performance by an actress in a supporting role

     

    Cate Blanchett in "I'm Not There" (The Weinstein Company)

     

    Ruby Dee in "American Gangster" (Universal)

     

    Saoirse Ronan in "Atonement" (Focus Features)

     

    Amy Ryan in "Gone Baby Gone" (Miramax)

     

    Tilda Swinton in "Michael Clayton" (Warner Bros.)

     

     

     

    Best animated feature film of the year

     

    "Persepolis" (Sony Pictures Classics): Marjane Satrapi and Vincent Paronnaud

     

    "Ratatouille" (Walt Disney): Brad Bird

     

    "Surf's Up" (Sony Pictures Releasing): Ash Brannon and Chris Buck

     

     

     

    Achievement in art direction

     

    "American Gangster" (Universal): Art Direction: Arthur Max; Set Decoration: Beth A. Rubino

     

    "Atonement" (Focus Features): Art Direction: Sarah Greenwood; Set Decoration: Katie Spencer

     

    "The Golden Compass" (New Line in association with Ingenious Film

    Partners): Art Direction: Dennis Gassner; Set Decoration: Anna Pinnock

     

    "Sweeney Todd The Demon Barber of Fleet Street" (DreamWorks and Warner

    Bros., Distributed by DreamWorks/Paramount): Art Direction: Dante

    Ferretti; Set Decoration: Francesca Lo Schiavo

     

    "There Will Be Blood" (Paramount Vantage and Miramax): Art Direction: Jack Fisk; Set Decoration: Jim Erickson

     

     

     

    Achievement in cinematography

     

    "The Assassination of Jesse James by the Coward Robert Ford" (Warner Bros.): Roger Deakins

     

    "Atonement" (Focus Features): Seamus McGarvey

     

    "The Diving Bell and the Butterfly" (Miramax/Pathé Renn): Janusz Kaminski

     

    "No Country for Old Men" (Miramax and Paramount Vantage): Roger Deakins

     

    "There Will Be Blood" (Paramount Vantage and Miramax): Robert Elswit

     

     

     

    Achievement in costume design

     

    "Across the Universe" (Sony Pictures Releasing) Albert Wolsky

     

    "Atonement" (Focus Features) Jacqueline Durran

     

    "Elizabeth: The Golden Age" (Universal) Alexandra Byrne

     

    "La Vie en Rose" (Picturehouse) Marit Allen

     

    "Sweeney Todd The Demon Barber of Fleet Street" (DreamWorks and Warner

    Bros., Distributed by DreamWorks/Paramount) Colleen Atwood

     

     

     

    Achievement in directing

     

    "The Diving Bell and the Butterfly" (Miramax/Pathé Renn), Julian Schnabel

     

    "Juno" (Fox Searchlight), Jason Reitman

     

    "Michael Clayton" (Warner Bros.), Tony Gilroy

     

    "No Country for Old Men" (Miramax and Paramount Vantage), Joel Coen and Ethan Coen

     

    "There Will Be Blood" (Paramount Vantage and Miramax), Paul Thomas Anderson

     

     

     

    Best documentary feature

     

    "No End in Sight" (Magnolia Pictures) A Representational Pictures Production: Charles Ferguson and Audrey Marrs

     

    "Operation Homecoming: Writing the Wartime Experience" (The Documentary

    Group) A Documentary Group Production: Richard E. Robbins

     

    "Sicko" (Lionsgate and The Weinstein Company) A Dog Eat Dog Films Production: Michael Moore and Meghan O'Hara

     

    "Taxi to the Dark Side" (THINKFilm) An X-Ray Production: Alex Gibney and Eva Orner

     

    "War/Dance" (THINKFilm) A Shine Global and Fine Films Production: Andrea Nix Fine and Sean Fine

     

     

     

    Best documentary short subject

     

    "Freeheld" A Lieutenant Films Production: Cynthia Wade and Vanessa Roth

     

    "La Corona (The Crown)" A Runaway Films and Vega Films Production: Amanda Micheli and Isabel Vega

     

    "Salim Baba" A Ropa Vieja Films and Paradox Smoke Production: Tim Sternberg and Francisco Bello

     

    "Sari's Mother" (Cinema Guild) A Daylight Factory Production: James Longley

     

     

     

    Achievement in film editing

     

    "The Bourne Ultimatum" (Universal): Christopher Rouse

     

    "The Diving Bell and the Butterfly" (Miramax/Pathé Renn): Juliette Welfling

     

    "Into the Wild" (Paramount Vantage and River Road Entertainment): Jay Cassidy

     

    "No Country for Old Men" (Miramax and Paramount Vantage) Roderick Jaynes

     

    "There Will Be Blood" (Paramount Vantage and Miramax): Dylan Tichenor

     

     

     

    Best foreign language film of the year

     

    "Beaufort" Israel

     

    "The Counterfeiters" Austria

     

    "Katyn" Poland

     

    "Mongol" Kazakhstan

     

    "12" Russia

     

     

     

    Achievement in makeup

     

    "La Vie en Rose" (Picturehouse) Didier Lavergne and Jan Archibald

     

    "Norbit" (DreamWorks, Distributed by Paramount): Rick Baker and Kazuhiro Tsuji

     

    "Pirates of the Caribbean: At World's End" (Walt Disney): Ve Neill and Martin Samuel

     

     

     

    Achievement in music written for motion pictures (Original score)

     

    "Atonement" (Focus Features) Dario Marianelli

     

    "The Kite Runner" (DreamWorks, Sidney Kimmel Entertainment and

    Participant Productions, Distributed by Paramount Classics): Alberto

    Iglesias

     

    "Michael Clayton" (Warner Bros.) James Newton Howard

     

    "Ratatouille" (Walt Disney) Michael Giacchino

     

    "3:10 to Yuma" (Lionsgate) Marco Beltrami

     

     

     

    Achievement in music written for motion pictures (Original song)

     

    "Falling Slowly" from "Once" (Fox Searchlight) Music and Lyric by Glen Hansard and: Marketa Irglova

     

    "Happy Working Song" from "Enchanted" (Walt Disney): Music by Alan Menken; Lyric by Stephen Schwartz

     

    "Raise It Up" from "August Rush" (Warner Bros.): Nominees to be determined

     

    "So Close" from "Enchanted" (Walt Disney): Music by Alan Menken; Lyric by Stephen Schwartz

     

    "That's How You Know" from "Enchanted" (Walt Disney): Music by Alan Menken; Lyric by Stephen Schwartz

     

     

     

     

    Best motion picture of the year

     

    "Atonement" (Focus Features) A Working Title Production: Tim Bevan, Eric Fellner and Paul Webster, Producers

     

    "Juno" (Fox Searchlight) A Dancing Elk Pictures, LLC Production: Lianne Halfon, Mason Novick and Russell Smith, Producers

     

    "Michael Clayton" (Warner Bros.) A Clayton Productions, LLC Production: Sydney Pollack, Jennifer Fox and Kerry Orent, Producers

     

    "No Country for Old Men" (Miramax and Paramount Vantage) A Scott

    Rudin/Mike Zoss Production: Scott Rudin, Ethan Coen and Joel Coen,

    Producers

     

    "There Will Be Blood" (Paramount Vantage and Miramax) A JoAnne

    Sellar/Ghoulardi Film Company Production: JoAnne Sellar, Paul Thomas

    Anderson and Daniel Lupi, Producers

     

     

     

    Best animated short film

     

    "I Met the Walrus" A Kids & Explosions Production: Josh Raskin

     

    "Madame Tutli-Putli" (National Film Board of Canada) A National Film

    Board of Canada Production Chris Lavis and Maciek Szczerbowski

    "Même Les Pigeons Vont au Paradis (Even Pigeons Go to Heaven)" (Premium

    Films) A BUF Compagnie Production Samuel Tourneux and Simon Vanesse

     

    "My Love (Moya Lyubov)" (Channel One Russia) A Dago-Film Studio, Channel One Russia and Dentsu Tec Production Alexander Petrov

     

    "Peter & the Wolf" (BreakThru Films) A BreakThru Films/Se-ma-for Studios Production Suzie Templeton and Hugh Welchman

     

     

     

    Best live action short film

     

    "At Night" A Zentropa Entertainments 10 Production: Christian E. Christiansen and Louise Vesth

     

    "Il Supplente (The Substitute)" (Sky Cinema Italia) A Frame by Frame Italia Production: Andrea Jublin

     

    "Le Mozart des Pickpockets (The Mozart of Pickpockets)" (Premium Films) A Karé Production: Philippe Pollet-Villard

     

    "Tanghi Argentini" (Premium Films) An Another Dimension of an Idea Production: Guido Thys and Anja Daelemans

     

    "The Tonto Woman" A Knucklehead, Little Mo and Rose Hackney Barber Production: Daniel Barber and Matthew Brown

     

     

     

    Achievement in sound editing

     

    "The Bourne Ultimatum" (Universal): Karen Baker Landers and Per Hallberg

     

    "No Country for Old Men" (Miramax and Paramount Vantage): Skip Lievsay

     

    "Ratatouille" (Walt Disney): Randy Thom and Michael Silvers

     

    "There Will Be Blood" (Paramount Vantage and Miramax): Matthew Wood

     

    "Transformers" (DreamWorks and Paramount in association with Hasbro): Ethan Van der Ryn and Mike Hopkins

     

     

     

    Achievement in sound mixing

     

    "The Bourne Ultimatum" (Universal) Scott Millan, David Parker and Kirk Francis

     

    "No Country for Old Men" (Miramax and Paramount Vantage): Skip Lievsay, Craig Berkey, Greg Orloff and Peter Kurland

     

    "Ratatouille" (Walt Disney): Randy Thom, Michael Semanick and Doc Kane

     

    "3:10 to Yuma" (Lionsgate): Paul Massey, David Giammarco and Jim Stuebe

     

    "Transformers" (DreamWorks and Paramount in association with Hasbro): Kevin O'Connell, Greg P. Russell and Peter J. Devlin

     

     

     

    Achievement in visual effects

     

    "The Golden Compass" (New Line in association with Ingenious Film

    Partners): Michael Fink, Bill Westenhofer, Ben Morris and Trevor Wood

     

    "Pirates of the Caribbean: At World's End" (Walt Disney): John Knoll, Hal Hickel, Charles Gibson and John Frazier

     

    "Transformers" (DreamWorks and Paramount in association with Hasbro): Scott Farrar, Scott Benza, Russell Earl and John Frazier

     

     

     

    Adapted screenplay

     

    "Atonement" (Focus Features), Screenplay by Christopher Hampton

     

    "Away from Her" (Lionsgate), Written by Sarah Polley

     

    "The Diving Bell and the Butterfly" (Miramax/Pathé Renn), Screenplay by Ronald Harwood

     

    "No Country for Old Men" (Miramax and Paramount Vantage), Written for the screen by Joel Coen & Ethan Coen

     

    "There Will Be Blood" (Paramount Vantage and Miramax), Written for the screen by Paul Thomas Anderson

     

     

     

    Original screenplay

     

    "Juno" (Fox Searchlight), Written by Diablo Cody

     

    "Lars and the Real Girl" (MGM), Written by Nancy Oliver

     

    "Michael Clayton" (Warner Bros.), Written by Tony Gilroy

     

    "Ratatouille" (Walt Disney), Screenplay by Brad Bird; Story by Jan Pinkava, Jim Capobianco, Brad Bird

     

    "The Savages" (Fox Searchlight), Written by Tamara Jenkins

     

     

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