Jump to content
Forum Cinema em Cena

Filhos da Esperança


-felipe-
 Share

Recommended Posts

  • Replies 61
  • Created
  • Last Reply

Top Posters In This Topic

Esse realmente passou em poucos lugares. Eu não sei se foi porque eu tava viajando, mas quando eu fui ver só tinha como assistir em uns dois cinemas, e não fazia tempo que tinha estreado (acho) e eu moro em SP, etc.

Boa sorte aí gustavo, estamos torcendo por você!
Link to comment
Share on other sites

  • 2 weeks later...

men58t.jpg

 

Interview: Alfonso Cuaron

 

"Children of Men"

Posted:   Monday, December 25th 2006 3:49PM

Author:   Garth Franklin

Location: Los Angeles, CA

Released in September in the UK, the dystopian sci-fi drama about a

world where humanity is fallen into despair due to infertility is the

latest effort from acclaimed filmmaker Alfonso Cuaron. Cuaron shot to

fame with the highly acclaimed road movie "Y tu mama tambien" in 2001,

and followed that with 2004's "Harry Potter and the Prisoner of

Azkaban" which also drew great notices for its breaking the

straightforward and stolid franchise into a new and more artistic

direction. Now with "Children" he has another critical hit on his

hands. At a press conference last month in Los Angeles, he spoke about

the project in detail:

 

 

Question: Can you talk a little bit about how

this movie is not a futuristic movie but how you see the parallels to

things that are going on today such as the whole immigration thing and

Homeland Security and that kind of stuff?

 

 

Alfonso Cuaron: It's obviously a futuristic

movie because it takes place in the near future but the reason it takes

place in the near future is only because of a convention of story in

which we're talking about infertility and 18 years of infertility. That

infertility we use just as a metaphor. We didn't want to go...in a

science fiction movie you would have gone into the whys and the mystery

of infertility. We decided to not even care about it and just take it

as a point of departure. So based upon that, taking that as a point of

departure, to try to make an observation about the state of things. You

mentioned Homeland Security and stuff but the movie is not about that.

That is part of the observation of the reality that we are living. The

whole idea with that is to try to bring the state of things, what is

happening outside the green zones that we happily live in and what

happens if we bring the world into the green zones. We experience for

an hour and a half the state of things and then try to make our own

conclusions about the possibility of hope.

 

 

Question: I have two questions for you. One

is which scene was harder to pull off: the car attack or the birth, and

do you have an extended version with even longer takes for the DVD?

 

 

Alfonso Cuaron: You're talking about...there

was another scene that is the battle at the end that comes together

with the birth and the car attack. The complication of the car attack,

even if the production value is not as bombastic as the battle scene,

the problem with the car attack is that you're in a vehicle in motion.

So that becomes a real nightmare in terms of timings, and cues and

stuff. More difficult than the timing of the birth scene because in one

shot you see how this girl enters the room and delivers the baby. And

so we have to plan that like 10 months beforehand, you know, for the

girl to get pregnant, to follow her through the whole thing, for Clive

Owen to learn how to deliver a baby, and for the baby to come right at

the perfect moment in which the camera comes around the legs. So that

was the toughest one. We never knew who the father was. We heard that

he was yesterday at the premiere. The only thing we asked Clare is to

try to make it like a mixed race kind of thing so that's the only clue

that we have. (Lots of laughter)

 

 

Question: Alfonso, do you have an extended version?

 

 

 

Alfonso Cuaron: Oh yeah, about the DVD? We

have... The thing is that the movie... When you do films with this

approach, in a way there's a certain amount of precision that is

required. It's not that you do coverage and you have a lot of other

material that you might or might not use. You know, it's just a very

precise choreography. The exciting part of it is that as a director I

try to create the perfect choreography but then it's about the

accidents that make the scene happen. You know, whatever you

choreographed but didn't happen or there was an accident. You rely on

people like Clive Owen who would take the accidents and elevate the

accidents into something better. So we have some in the DVD, definitely

we have. The DVD is very interesting because we have a couple of scenes

that didn't make it into the film. Not longer versions of the scenes

that you saw because that was the length of those scenes. But the most

interesting thing is that we are doing in the DVD a documentary about

the things that put together the film. We're doing interviews with

people like Seasick Todoroff and Naomi Klein, and pretty much they're

not talking to us about the film but they are commenting about the

state of things. In other words, it's like a documentary approach to

what the film is about.

 

 

Question: Alfonso, how involved were you in

the design of the future and were there some things that you decided on

in the future that were going to be or not be like, for example, that

you have cars in the future but you don't have the traffic in London

that you see today?

 

 

Alfonso Cuaron: Well, the balance here was

and that was the most difficult thing in terms of the design. On the

one hand, how to create a reality that if you are watching and you know

that the convention is that the film takes place in the future, how you

accept that that is the future without alienating the sense of today.

And that was the biggest challenge. How not to create supersonic cars

that will transport you emotionally and in terms of your imagination,

but to make cars that if you look closely that they feel like today.

But if you look closely, you say, 'Oh, I've never seen that car.' And

that was the toughest balance, but it's not only about the cars, it's

about how far you push the billboards. You know, I wanted the

billboards to look like today but at the same time they have to honor

the fact that the story is taking place 20 years from now. So that was

the toughest balance to deal with and because ... and the other thing

was the constant referential thing. When I started working on the film,

the first meeting with the art department, they came up with the most

amazing... I think that they heard that it was a movie of the future

and they undusted all these concept designs - beautiful supersonic

cars, buildings, the whole thing. And they were really beautiful but I

said, 'This is not the movie we're doing. The movie we're doing is

this.' And inside I had my own file of photographs from Iraq, from Sri

Lanka, Northern Ireland, the Balkans, Somalia, Chernobyl, and I mean

this is the movie we're doing. And the rule #1 in this film is that

whatever we see has to have a visual reference of stuff that now has

become part of human consciousness and it's an iconography that mostly

came out of the media. So that was the balance, how to make it the

future but feel today and that every single thing as Emmanuel Lubezki,

my cinematographer, kept saying we cannot afford to have one single

film frame -- meaning 24 frames per second -- so one single photogram

that is not commenting about the state of things. So that was the big

challenge.

 

 

Question: When you were writing, did you have

any one cast member in mind? And then after you finished, how did you

find the cast that you were looking for?

 

 

Alfonso Cuaron: There were people that Tim

Sexton and I used to mention. We used to refer to Jasper as the Michael

Caine character. And Clive from the beginning, when we were writing, I

remember that we had just seen Croupier. Because I wrote this script

with Tim right after Y Tu Mama Tambien. And we kept on saying, 'Yeah,

it's like the guy in Croupier' knowing that at that point maybe that

wouldn't have been like the biggest choice for the studio. What is so

great is that I didn't do the film right away. I did Harry Potter. When

I finished Harry Potter, suddenly the studio wanted Clive and that was

such a fantastic coincidence in the whole thing. Suddenly it was like I

had the dream cast and I had a cast that protected me. I consider my

cast as other co-writers. They really took care of their characters but

they took care of the truthfulness of what their characters were going

to do in the context of the story. I have nothing but thankfulness for

these guys. They were absolutely amazing. And actually like Michael

Caine, you've never seen Michael Caine farting before, and he is still

Michael Caine but only he is farting and smoking joints and stuff. That

is so alien to what he is. It's just that he is such an amazing actor.

We did make-up tests and costume tests. We were in his place and he

mentioned from the get go, he says 'I want to play this like John

Lennon' because he was friends with Lennon. And then he started to tell

me how Lennon used to talk like very nasal. And if you see the way he

performed the whole thing, he speaks in a very nasal kind of way. And

so we're doing all these make-up and fittings and he looks at himself

and that's the beauty of witnessing the process of actors. You have Sir

Michael Caine who is doing his fittings, he goes and looks at himself

in the mirror, and his whole body language changed. He stopped being

Michael Caine. He was this other character. In that moment, his wife

walks into the room and goes next to him and says, 'Have you seen my

husband.' The wife didn't recognize Michael so there was a sweet story

with Michael. But I think the reason this film works is because of

Clive Owen because Clive is the vessel for our emotional journey in

this film, otherwise it would almost be like a documentary.

 

 

Question: What about Clare?

 

 

 

Alfonso Cuaron: We looked for... To get to who

was going to play Kee, the thing is the options were so open in the

sense that we knew that she needs to speak enough English so we can go

any nationality. So we did casting in, I don't know, like 20 different

countries. Clare was...and actually because I wanted to, even though in

the script she was described as an African girl, we said we don't want

just because of some conceptual thing to maybe miss the great actress

who could be playing this role, so we opened up our scope and (claps

hands) we end up with Clare. I think that she represented the

vulnerability and something that I admire about Clare, she stripped the

whole thing of sentimentality. You know, she made it a very rough

character. She didn't do the precious... It was... There was always the

temptation to do the cute relationship between Theo and Kee, you know,

almost like the central father-daughter relationship. Part of our

premise is they cannot have that amazing chemistry because you don't

choose who you survive with. You know, we need to keep a certain

tension there, not a comfortable thing of, you know, the

father-daughter relationship or even the suggestion of maybe a sensual

relationship between the two of them. We wanted to keep it dry, very

dry. And that's another thing of Clare and with Clive is that they keep

that dryness but they play those things with a lot of compassion so

more than chemistry they had empathy. That is different.

 

 

Question: Alfonso, what was your reaction

when you first read the book and how did that affect you emotionally.

Did you have the same experience with another book?

 

 

Alfonso Cuaron: The truth of the matter is I

didn't respond to the material. I was not interested in doing a science

fiction film and also the book takes place in a very posh universe. I

respect, I love P.D. James. I enjoy the book but I couldn't see myself

making that movie. And nevertheless, the premise of infertility kept on

haunting me for weeks and weeks and weeks. Maybe three weeks I was in

Santa Barbara, in one beach in Santa Barbara, when I questioned myself,

'Why this premise haunts me so much?' And it's when I realized that the

premise could serve as a metaphor for the fading sense of hope that

humanity has today. And that's when I said, 'Okay, this can be the

point of departure for talking about the state of things today.' So the

next stage was to try to explore what the state of things are and you

don't have to go very far to learn that environment and immigration are

two of the main factors that are shaping this world and that are

actually very connected. If the environment keeps on going the way that

we're going, it's actually going to make the immigration phenomenally

even more acute. So that was the point of departure, that was... I'm

very thankful with P.D. James because she inspired me so much with her

premise. Now from the moment in which we started exploring this then we

have to craft a parallel story, not necessarily the story that was in

the book because we need to honor the story that had to do with the

immigration phenomena so we created the whole thing of the refugees and

we created the whole thing of Kee as a refugee, the whole thing of the

refugee camp. And let me put it this way, in the book, Kee doesn't

exist. In the book who's pregnant is Julianne Moore. So we just took a

big departure there.

 

 

Question: In the final movie, do you think

the fact that the last baby is Latino and the new one is black has a

message or is just a coincidence?

 

 

Alfonso Cuaron: Well I don't know about that.

I didn't want to make a movie about messages per se. The same as it's

not like Homeland Security. It's not that it is a movie about trying to

send messages about those things, [it's] about trying to make an

observation but then people have to come with their own conclusions.

For me there were a lot of metaphorical aspects that worked. We were

trying to work with archetypes but also with certain metaphors. The

fact of having an African child or the son of an African girl -- the

child is actually the daughter of an African girl -- has to do with the

fact that humanity started in Africa. But also to put the future in the

hands of the dispossessed and the lower caste of humanity and to create

a new humanity to spring out of that. And baby Diego was an homage to

the Argentinians in the room. [laughs]

 

 

Question: I wanted to know if you would every

return to the Harry Potter franchise and what was your reaction to

Guillermo Del Toro's Pan's Labyrinth?

 

 

Alfonso Cuaron: I would love to have the

opportunity of revisiting the Harry Potter universe. It's an amazing

experience to do those films because while you're doing those films,

you're surrounded by this amazing beneficial energy. Everything that

surrounds the J.K. Rowling creation - I'm not talking about the film

franchise but the creation of J.K. Rowling -- is impregnated with this

amazing beneficial energy. So for me it was two amazing years of my

life. I wouldn't mind at all revisiting that. With Pan's Labyrinth, I

find that there are three films that are sister films, that I consider

sister films this year. It's Pan's Labyrinth, Children of Men, and

Babel. And I think that has to do with [the fact] that we collaborate

all the time. We love to stick our forks in each other's salads. I

consult Alejandro (Inarritu) and Guillermo (del Toro) all the time. I

love Pan's Labyrinth. Probably one of the most gratifying moments in my

life making films is to be in the premiere of Pan's Labyrinth in Cannes

in which they had the longest standing ovation since 1968. And it was

so beautiful to see Guillermo during the first two minutes really

touched by the applause, by minute 5 he was crying, minute 7 he was

dancing, and by minute 12 he was stripping. [laughs] He was taking his

clothes off because suddenly he didn't know what else to do. And it was

so beautiful to witness that, but the power of that applause, it was

not only about the hypnotic thing of the applause, it was that I find

that the ending of Pan's Labyrinth has an amazing profundity. It is

this ending which the liberation by death of one of the characters is

the grief of the character that stays behind. I think it's an

amazing...it has a lot of different connotations. I find that it is a

very brave and a very beautiful film. I love it. I love it.

 

 

Question: In your film, one of the things

that struck me was history. If you don't try to change it, it will

repeat itself and I know a lot of people were talking about immigration

and so forth but when they were in the city in that prison, I thought

of World War II, about the ghetto, about the Jews and what happened to

them. I always wondered how that would play out in the future because I

don't think we've really learned the lesson and when I saw your film, I

thought, 'That's it.'

 

 

Alfonso Cuaron: And the amazing thing is that

the direct reference... You see those things and the direct reference

was Guantanamo and Abu Ghraib. Nevertheless, that is the same reference

as concentration camps in the second World War. It is so interesting

that you say that because in this documentary that we're doing for the

DVD, Slavoj Zizek who is a Slovenian philosopher, he talks about

infertility in the film and he says that the real infertility is the

lack of historical perspective and that that's where the real

infertility resides and how we cannot expect a renewal because we are

so rooted in our past, without having an awareness of that past because

we are so rooted to it. He says that the real renewal is ruthlessness

and that has to do with the lack of historical perspective that

humanity has. Some people, the pessimistics, they think that that is

just the way it is. I want to believe... I have a very grim view, not

of the future. I have a very grim view of the present. I have a very

hopeful view of the future. And I think that that has to do with I

believe an evolution is happening. Together with all this greenness an

evolution is happening, an evolution of the human understanding that is

happening in the youngest generation. I believe that the youngest

generation, the generation to come, is the one that is going to come

with new schemes and new perspectives of things. It's as if we haven't

seen the reality from the standpoint that the earth is flat and the new

generation is going to show us that actually that is fear, that it's

going around the sun, it's not the sun that is going around the earth.

It's just that I think that it's a matter of understanding.

 

 

Question: I just wanted to ask you because

Clare had mentioned that everyone had a different theory on the father

of the baby and you were saying it was...she said that you said that it

was divine intervention or immaculate conception. I was just wondering.

 

 

Alfonso Cuaron: Yeah, right. [laughs] Yeah, right.

 

 

 

Question: Did you ever think about...

 

 

 

Alfonso Cuaron: No, for me? I think she is not

very sure of who was it. Actually there was a moment -- we cut that out

just because of length -- but there was a moment in the script, in the

movie where she's talking and she doesn't really know who 'since I did

so many guys' -some for money, some for drugs, some just because she

was horny, she says. So she doesn't really know who the father is.

 

 

Question: Welll, this comes out on Christmas Day so aren't there some parallels to the whole...

 

 

 

Alfonso Cuaron: This is an archetype of the...

but at the same time that archetype... You see the Clive Owen character

more than Joseph is Moses. He's the guy who dies before seeing the

Promised Land. The difference is that in the Bible Moses dies before he

sees the Promised Land because he doubted. In Clive's character, he

dies before seeing the Promised Land because he doesn't need to see the

Promised Land. He recovered what he was looking for which was his sense

of hope. And as long as you have that sense of hope, then you do not

need confirmation of things.

 

 

Question: Has she seen the movie?

 

 

 

Alfonso Cuaron: P.D. James?

 

 

 

Question: Yes.

 

 

 

Alfonso Cuaron: Yes, she's a big endorser of

the movie. She made a statement in which she says, 'It's obvious that

this film departed from the book, but I'm so proud to be associated

with this film.' She really understood that in a way we took an

elaboration of her own premise. So the core of everything is her book.

 

Link to comment
Share on other sites

Na realidade, os planos seqüências são TÃO extremamente bem-feitos que em diversos momentos eu começava a divagar: "Como isso foi feito?", e simplesmente parava de prestar atenção no que acontecia. Acho que foi nesse momento que eu percebi que alguma coisa tinha ultrapassado os limites. A direção de Cuarón é tão poderosa que o tiro saiu pela culatra (para mim): ela engole a força da narrativa e o peso da história.

 

 

Sabe que aconteceu o oposto comigo? Tanto na sequência do carro quanto na sequência no campo de concentração, no momento que o filme corria, eu não me toquei no virtuosismo. Só quando eu saí do cinema que eu pensei: ó pá, como raios ele filmou aquilo?

 

Mas isso tudo é muito pessoal, eu me 'conectei' sim aos personagens e me importava com seus destinos. Agora, vi Perfume na Maratona Odeon desse sexta feira e o Tom Tykwer só me fez ter como ligação com o personagem a vontade do ator ter morrido durante as filmagens e o filme nunca ter sido lançado, enquanto quase todo o cinema gostou bastante ... (

 

 

 

Link to comment
Share on other sites

Ruby Tuesday

 

Esse filme toca Ruby Tuesday? Em Os Excêntricos Tenenbaums tb' date=' e muito bem encaixada.
[/quote']

 

Ruby Tuesday, várias e várias vezes...

Nenhuma mal encaixada.

Posso ser suspeito pra falar (a música inspirou meu nick, acho que já disse isso aqui), mas ela tá bem encaixada sim.
Link to comment
Share on other sites

Simplesmente FODÁSTICO! Cuaron alia técnica excepcional com um tema que em si, parece meio óbvio e pouco interessante. Mas quando ele transforma esse tema em imagens o filme sobe até quase chegar na atmosfera... No final, fiquei com a seguinte mensagem: as crianças são as responsáveis por ainda não nos matarmos uns aos outros sistematicamente. Por serem a representação inocente de uma vida inteira pela frente, a criança proporciona uma PERSPECTIVA de futuro. Sem elas, não temos mais nada.

 

Não me recordo de ter visto isto no cinema recente... Palmas para Cuarón e companhia e 2007 já tem o seu primeiro grande filme.

 

*****

Link to comment
Share on other sites

Eu posso dizer aqui que esse filme não é tão bom assim sem risco de ser linchado?

Eu até gostei do filme' date=' mas só. Tecnicamente ele é realmente estonteante, mas depois de um tempo eu comecei a ter a sensação que era apenas isso que o filme queria fazer: impressionar.[/quote']

 

Discordo... apesar de no início tudo parecer meio óbvio e pouco interessante, a cena em que Owen e a garota conseguem sair do prédio que está sendo atacado pelo exército com todos os soldados e refugiados olhando atônitos para os dois, resume o conteúdo do filme de forma sublime... A criança é a perspectiva de futuro para o ser humano. Sem ela, o ser humano não tem mais nada.


Eu tenho um teste para saber se os personagens me cativaram: eu imagino eles mortos e' date=' se a imagem me causar tristeza/pena, eu sei que eles conseguiram. MAS em Filhos da Esperança eu não me importava com ninguém.[/quote']

 

Péssimo teste, pois cada filme é um filme. Se vc aplica a mesma regrinha para todos, a coisa desanda e vc jamais apreciará plenamente qualquer filme que seja.

Minha atenção caía majoriatiamente sobre a estrutura técnica' date=' os planos-seqüência - mas não sobre os personagens ou sobre um conteúdo consistente.[/quote']

 

Mas a idéia é essa! O cinema é a arte da imagem e som, a história contada por imagens e sons. Se essa parte falha, de nada adianta vc ter uma bela história, a coisa não irá funcionar.

Eu queria saber mais sobre aquele mundo caótico' date=' e embora o filme vislumbrasse em diversos momentos algumas questões interessantes (imigração descontrolada, as mulheres chorando pela morte do "bebê", os "campos de concentração", etc), senti muita falta em saber como as pessoas em geral conviviam com suas perspectivas de futuro, por exemplo - se é que as tinham. A fala mais interessante do filme vem do irmão do Owen, que diz: "Eu não penso nisso".[/quote']

 

Diversos diálogos, além desse e diversas imagens no filme estabelecem com vigor o mundo caótico que Cuarón apresenta em seu filme. E a frase o irmão do Owen resume bem como as pessoas conviviam com a sua (falta de) perspectiva em relação ao futuro.

De resto' date=' o filme é quase o Cuarón se masturbando na direção. Na realidade, os planos seqüências são TÃO extremamente bem-feitos que em diversos momentos eu começava a divagar: "Como isso foi feito?", e simplesmente parava de prestar atenção no que acontecia. Acho que foi nesse momento que eu percebi que alguma coisa tinha ultrapassado os limites. A direção de Cuarón é tão poderosa que o tiro saiu pela culatra (para mim): ela engole a força da narrativa e o peso da história.
[/quote']

 

Acho que vc ficou tão deslumbrado com a parte técnica que não reparou no resto.

 

Em tempo: a história só ganhou peso pq as imagens de Cuarón são tão fortes que dão vida àquilo que ele está contando.
Dook2007-01-18 12:29:19
Link to comment
Share on other sites

Simplesmente FODÁSTICO! Cuaron alia técnica excepcional com um tema que em si' date=' parece meio óbvio e pouco interessante. Mas quando ele transforma esse tema em imagens o filme sobe até quase chegar na atmosfera... No final, fiquei com a seguinte mensagem: as crianças são as responsáveis por ainda não nos matarmos uns aos outros sistematicamente. Por serem a representação inocente de uma vida inteira pela frente, a criança proporciona uma PERSPECTIVA de futuro. Sem elas, não temos mais nada.

Não me recordo de ter visto isto no cinema recente... Palmas para Cuarón e companhia e 2007 já tem o seu primeiro grande filme.

*****
[/quote']

 

Sem falar que o plano - sequência no final do filme é digno de nota...
Link to comment
Share on other sites

 

Tem um cartaz do filme' date=' que acho que não veio pra cá:

 

filhos-da-esperanca-poster02.jpg
[/quote']

 

Veio sim... No cinema que eu assisti tinha esse poster com mais alguns dizeres além deste (e que infelizmente não me lembro). Mas é isso aí: 'o último a morrer por favor apague a luz'...
Link to comment
Share on other sites

Não só esse plano sequência... Há vários durante o filme.

 

É verdade...Mas o plano - sequência no final é realmente estonteante...

 

Acho que já postei isso, mais lá vai: Uma outra coisa que achei fundamental para a identificação imediata de nós telespectadores com o filme é que, apesar do filme se passar no futuro, não é uma ambientação "futurista". Pelo contrário: há apenas uma leve incursão de telões e algumas parfernálias mais sofisticadas, o resto da ambientação é muito parecida com os dias atuais. Isso acabou dando ao tema do filme uma veracidade cada vez maior e mais latente, fazendo a gente pensar: "É, isso pode acontecer mesmo!!". Além disso, como o Dook falou, apesar do tom melancólico presente desde o início do filme, no final, ficou a esperança, depositada naquela criança que acabara de nascer.

 

Só não digo que 2007 já começou com um grande filme por quê eu o vi ainda em 2006....06

 

 
Link to comment
Share on other sites

 

Eu tenho um teste para saber se os personagens me cativaram: eu imagino eles mortos e' date=' se a imagem me causar tristeza/pena, eu sei que eles conseguiram. MAS em Filhos da Esperança eu não me importava com ninguém.

 

Eu queria saber mais sobre aquele mundo caótico, e embora o filme vislumbrasse em diversos momentos algumas questões interessantes (imigração descontrolada, as mulheres chorando pela morte do "bebê", os "campos de concentração", etc), senti muita falta em saber como as pessoas em geral conviviam com suas perspectivas de futuro, por exemplo - se é que as tinham. A fala mais interessante do filme vem do irmão do Owen, que diz: "Eu não penso nisso".

 

[/quote']

 

Como já falaram, esse "teste" que você citou nem sempre é válido, até porque depende de fatores inesperados como o seu estado de espírito no momento em que você está vendo o filme. Depende também do próprio filme, obviamente. Por exemplo, a morte de Julien não despertou tristeza em mim, mas sim frieza e melancolia: "por coincidência", o ambiente retratado no filme é justamente frio e melancólico.

 

A propósito, é interessante e irônico o fato do filme falar sobre esperança, sendo que a sensação que tomou conta de mim durante TODO o filme foi de desesperança. Até mesmo no final.

 

anyway, gostei bastante do filme apesar de não ter me atingido com a intensidade que acharia que iria. Mas talvez seja meu estado de espírito hoje.

 

Preciso revê-lo !

 

 

Link to comment
Share on other sites

  • 2 weeks later...

Entrou no meu Top 10 de todos os tempos. 9.5/10 ; 5/5. 10

 

Depois de dois meses da estréia, tinha perdido todas as esperanças de ver o tão comentado filme de Alfonso Cuarón. E é aí que o cinema de Suzano (Grande São Paulo) consegue uma cópia do filme (os primeiros vinte minutos estão um pouco castigados mas o resto dá pra ver sem problemas 02 05). Quem mora perto tem a chance de ver/rever esta obra prima.

 

Link to comment
Share on other sites

  • 2 months later...

Esse filme é espetacular, aluguei hoje na locadora. Consegue ser dinâmico e prender a atenção do espectador o tempo inteiro. A história é muito interessante e o Clive Owen tá excelente. E a participação especial do Michael Caine é muito boa. Destaco o Alfonso Cuáron, diretor excepcional, a cena do carro, com a Juliane Moore, é eletrizante.

 

Link to comment
Share on other sites

Querida, todo mundo (menos o Troy) já disse q o filme é ótimo. Leia as opiniões antes de fazer uma pergunta tão boba como essa. E se vc quiser ver um filme veja, vc não precisa ficar pedindo opinião de ninguém (mas entendo suas razões). Todo mundo tem uma visão diferente desse e de vários outros filmes.. 03.gif

 

 

 

P.S.: Não quero q vc pense q estou sendo agressivo, pois não estou, falou?

 

 

 

T+

Link to comment
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

Loading...
 Share

Announcements


×
×
  • Create New...