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SergioB.

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  1. 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.
  2. Último longa do Pasolini, uma declinação sobre os sistemas opressores. Gosto de Sade porque nada nele é pouquinho, tudo é muito, é constante, é abrangente, tem peso. Não é apenas um momento ou dois de horror. É o tempo todo. Música, Morricone. Figurino, Danilo Donati. Design, Dante Ferretti. Só as feras.
  3. 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.
  4. Pablo Villaça‏Conta verificada @pablovillaca 16 minHá 16 minutos Mais 11) Zimna Wojna - Pawlikowski e seus dois atores principais criam um daqueles amores que funcionam mais quando não funcionam, usando o pós-guerra na Europa como cenário e símbolo. 5/5 #Cannes2018
  5. Curta de Documentário do vencedor de 2 estatuetas (uma delas pelo clássico "The Times of Harvey Milk"), Rob Epstein; e Jeffrey Friedman. É sobre cuidados paliativos a doentes terminais. Muito triste, et caterva, mas faltou um pouco de artisticidade. Sempre curioso ver a dinâmica dos hospitais americanos, como a constante presença de assistentes sociais. Embora já tenha várias indicações, a Netflix ganhou o Oscar pela primeira vez neste ano de 2018, com o documentário "Icarus".
  6. Em seu mais recente trabalho, Clint Eastwood mais uma vez enfoca o heroísmo. O filme não seria absolutamente NADA se não tivesse a particularidade de ser encenado pelas pessoas reais que abortaram o atentado. De algum jeito, quando a ficção e a realidade se aproximam tanto, o status artístico ganha relevância. Se fossem simplesmente atores, eu diria que certamente é o pior filme da carreira dele. Toda a parte técnica é protocolar. Não salva nada.
  7. 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
  8. Pablo Villaça‏Conta verificada @pablovillaca 6 hHá 6 horas Mais 6) Leto - Com belíssima fotografia em preto e branco, o filme tem uma energia admirável e soa ao mesmo tempo nostálgico e contemporâneo. 5/5 #cannes2018
  9. 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
  10. Nesta época do ano fico vendo mais filme antigo, aí deixo passar umas novidades bacanas. Caso de "Ready Player One", que eu adorei. Há muito tempo venho pedindo a volta do Spielberg da fase de espetáculo visual. E ele veio. Adorei o dinamismo, a agilidade, a imersão no colorido, ajudado pelo trabalho mais uma vez fantástico do Adam Stockhausen no Desenho de Produção. Que ano do Alan Silvestri fazendo trilha de 3 filmes, e de dois blockbusters como esse e "Vingadores: Guerra Infinita". Será o retorno dele à temporada de prêmios? Não sei se o filme fez tanto sucesso como planejado.
  11. 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.
  12. 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.
  13. 2) Wildlife - Com direção de Paul Dano, este drama familiar traz Carey Mulligan e Jake Gyllenhaal em ótimas performances, mas é mesmo o jovem Ed Oxenbould quem rouba a cena. 4/5 #cannes2018
  14. E eu ainda o tinha colocado em Roteiro Original. Pelo menos, não fui na onda de vários experts que colocavam Penelope Cruz, Bardem, enfim, a turma toda entre os indicados. By The way, eu adorei o final de "Happy End".
  15. Telefilme de 1971, tido como "superprodução", mas, na real, é meio caído. Rossellini se inspira nos Diálogos de Platão nos quais a figura de Sócrates é mais marcante. Pena dos adolescentes que tenham que ver esse filme como introdução à Filosofia. Pois, lateralmente, é uma porta ruim para Rossellini. A montagem é bizarra.
  16. 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.
  17. Pablo Villaça‏Conta verificada @pablovillaca SeguirSeguir @pablovillaca Mais 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 #Cannes2018
  18. Amei! Superdahora. Não sabia que o final era tão lacunoso (embora minha opinião esteja formada.). E que traços, e que coloração! Amei o amarelo da blusa da Bárbara. Em relação à história, não tenho objeções quanto a se contar a origem do Coringa. Acho que o Moore mandou bem.
  19. 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 (Still de Anna Karina e Jean-Paul Belmondo, em "O Demônio das Onze Horas, 1965 )
  20. Ensaios da minha musa intelecutual, a mulher mais culta da história da humanidade. O primeiro deles, sobre a estética do silêncio, é incrível. Analisa todas as manifestações do silêncio, desde "Persona" do Bergman, até os "ready-made" de Duchamp, passando por artistas que resolveram de algum jeito se "emudecer" como Rimbaud (alow, Daniel Day-Lewis).
  21. O titulo no Brasil precisa de uma unificação. Já vi "Viagem Pela Itália", "Viagem à Itália", "Romance na Itália". Todos referem-se a esse filme do Rossellini, a meu sentir, querendo fugir um pouco do neorrealismo taxativo (usando mais closes por exemplo). A história de amor é quase uma desculpa para se mostrar o sul da Itália. Paisagens naturais, museus, o povo já se reerguendo depois da guerra (Quantas mulheres grávidas!)... George Sanders é sempre o mesmo...Ninguém interpreta um esnobe tão bem. Filhos não validam casamento.
  22. (Continuando) BEST CINEMATOGRAPHY1. First Man - Linus Sandgren2. If Beale Street Could Talk - James Paxton3. Peterloo - Dick Pope4. Mary Queen of Scots - John Mathieson5. Mary Poppins Returns - Dion Beebe BEST COSTUME DESIGN1. Black Panther - Ruth E. Carter2. Mary Poppins Returns - Sandy Powell3. Mary Queen of Scots - Alexandra Byrne4. Peterloo - Jacqueline Durran5. The Nutcracker and the Four Realms - Jenny Beavan BEST PRODUCTION DESIGN 1. First Man - Nathan Crowley2. Peterloo - Suzie Davies3. Fantastic Beasts 2 - Stuart Craig4. The Nutcracker and the Four Realms - Guy Hendrix Dyas5. Black Panther - Hanna Beachler BEST FILM EDITING1. First Man - Tom Cross2. If Beale Street Could Talk - Joi McMillon & Nath Sanders3. Backseat - Hank Corwin4. Widows - Joe Walker5. Black Panther - Debbie Berman & Michael Shawver BEST VISUAL EFFECTS1. Black Panther2. Avengers: Infinity War3. Solo: A Star Wars Story4. First Man5. Ready Player One BEST MAKE UP AND HAIRSTYLING1. Black Panther2. The Nutcracker and The Four Realms3. Mary Queen of Scots BEST ORIGINAL SCORE1. If Beale Street Could Talk - Nicholas Britell2. First Man - Justin Hurwitz3. Mary Queen os Scots - Max Richter4. Peterloo - Gary Yershon5. A Quiet Place - Marco Beltrami BEST SOUND MIXING1. First Man2. Black Panther3. A Star is Born4. Mary Poppins Returns5. A Quiet place BEST SOUND EDITING1. First Man2. Black Panther3. A Quiet Place4. Solo: A Star Wars Story5. Avengers: Infinity War BEST SONG1. All The Stars - Kendrick Lamar, SZA2. ...3. ...4. ...5. ... BEST ANIMATED FEATURE1. Incredibles 22. Isle of Dogs3. Ralph Breaks The Internet4. Early Man5. Big Fish & Begonia BEST FOREIGN LANGUAGE FILM1. Everybody Knows - Spain2. Roma - Mexico3. ...4. ...5. ...
  23. Quero ler essa hq e quero ler um mangá chamado "Orange", já ouviu falar?
  24. Precursor do neorrealismo italiano, quando tudo era "impossível", o país destruído, o povo com fome, eles mostraram que o cinema poderia ser um artesanato e não uma indústria. E fizeram com as próprias mãos. Por "eles" entenda-se Rossellini, Sergio Amidei, de Sica, e tantos outros. Assim como os resistentes de guerra, um e cada um, mulher, criança, párocos, deram a sua contribuição antifascista. Indicado ao Oscar de Roteiro em 1947 - uma época maluca pois eram dadas 3 estatuetas a consagrar os diferentes aspectos de um roteiro.
  25. Completando a sequência de filmes baseados em Alberto Moravia, "O Conformista", do Bertolucci. Direção primorosa, elegantíssima. Jean-Louis Trintignant, excelente. Já houve muitos estudos ligando caráter fascista, de figuras tidas como "fortes", à repressão sexual (No Brasil, nesse instante, podemos observar isso nitidamente). Quando falam desse filme é sempre: "Que fotografia!". Normal, é Vittorio Storaro. A trilha é do compositor de "O Desprezo", Georges Delerue, indicados tantas vezes ao Oscar, vencedor por "O Pequeno Romance", em 1980. Bertolucci teria sua primeira indicação ao Oscar pela adaptação desse livro. Não ganhou. Seus concorrentes em Roteiro Adaptado, em 1972, eram simplesmente: Kubrick pelo icônico "Laranja Mecânica"; o extraordinário e inigualável "O Jardim dos Finzi Contini"; o lindíssimo "A Última Sessão de Cinema"; e "Operação França", que viria a ganhar. Tipo...só isso! Todos que leram o livro sabem que o que o Kubrick fez foi incrível. O livro é dificílimo de adaptar ( e cortar! Cortou toda a última parte.). Provavelmente meu voto teria sido para ele. Foi muito bom ter visto todos esses filmes em sequência pois pude comprovar que diretores extraordinários fazem filmes com a sua cara, usando dos mesmos elementos presentes nos livros do Moravia: personagens centrais fortes experenciando uma libertação política. Os quatro personagens principais de: Lollobrigida; Loren; Piccoli e Bardot; e Trintignant; ao libertarem seus corpos (ou mantê-los libertos), também libertaram-se/mantiveram-se longe do sistema de poder.
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