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Oscar 2011: Indicados e Previsões


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black swan tem o melhor trailer dos q eu vi, q bom q está se confirmando como uma possível força. aronofsky é um diretor bastante talentoso

 

alguém sabe dizer pq the fighter está tão bem cotado assim?

 

não sei se já foi postado o trailer de 127 hours do boyle: http://www.youtube.com/watch?v=w-3AHv2E5jg , o q acham?

 

e já tá na hora do bolão, hein? qt antes, melhor 03
D4rk Schn31d3r2010-09-02 00:24:38
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Chamada da matéria do jornal ESTADO DE SP para BLACK SWAN: "Vaias para o Cisne Negro"; diz que ninguém deu bola para o filme em Veneza. #WTF

 

 

Oricchio escreve bem, mas sua gana de reescrever os fatos a seu bel-prazer (e a empáfia "superior" com que ele descarta filmes que não lhe agradam) irritam até à alma.

 

 

 

 

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D4rk, sobre o bolão, se ninguém tiver interesse em organizar eu pego de novo, mas não sei se o Guljb ou quem organizava antes vai querer pegar as rédeas.

---

 

Começaram a saír as primeiras reações a Somewhere. Da imprensa italiana:

 

33kryms.png

 

Venezia, 3 set. (Apcom) - Un lungo applauso ha salutato, in conferenza stampa, l'ingresso del cast di 'Somewhere', film in concorso alla 67esima Mostra del Cinema di Venezia per la regia di Sofia Coppola, già premio Oscar per 'Lost in Translation' . Applaudita anche in sala nella proiezione riservata alla stampa, la pellicola racconta la storia di un attore, Johnny Marco (uno splendido Stephen Dorff), che vive allo Chateau Marmont a Los Angeles, storico albergo della tradizione hollywoodiana

 

Da imprensa espanhola:

 

Sofia Coppola, ovación en Venecia con su nuevo lamento de millonaria

La cineasta estadounidense Sofia Coppola volvió a deslumbrar hoy en la Mostra gracias a esa rara habilidad suya, la languidez cinematográfica, que alcanza su máxima expresión en "Somewhere", interpretada por Stephen Dorff y en la que sigue haciéndose eco del lamento de los que lo tienen todo

 

 

Primeira review:

Sofia Coppola hits the right note in Somewhere

 

Esperar mais, mas o começo é bom ao menos. De qualquer maneira é um dos que mais aguardo, com certeza.
Beckin2010-09-03 10:21:55
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E Veneza tem seu primeiro filme ovacionado! De quem mais poderia ser? Claro que da Sofia Coppola!

 

Sofia Coppola, primera ovación en la Mostra

La cineasta ha presentado su última creación, 'Somewhere'

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

1 voto

 

 

Disminuir%20fuenteAumentar%20fuente

ImprimirE-mail

03/09/2010 | Actualizada a las

15:17h

|

Cultura

Venecia (Italia) (EFE).- La cineasta estadounidense Sofia Coppola volvió a deslumbrar este viernes en la Mostra gracias a esa rara habilidad suya, la languidez cinematográfica, que alcanza su máxima expresión en Somewhere, interpretada por Stephen Dorff y en la que sigue haciéndose eco del lamento de los que lo tienen todo.

Con su habitual gesto de desagrado y hablando para

el cuello blanco de una camisa de rayas azules, la pequeña de los

Coppola enfoca con muy buen gusto una historia en la que un actor,

Johnny Marco, insatisfecho con sus toneladas de fama, busca

reencontrarse a través de la relación con su hija, interpretada por Elle

Fanning.

 

"Me interesa mirar a las personas en sus momentos de transición", explicó la directora de Lost in Translation,

"se tienen que aislar del mundo y entrar en contacto con la soledad". A

lo que Dorff, manso y a la vez espléndido en su papel, añadió que "la

soledad llega al actor cada vez que acaba una película".

 

Tras el

infantil acercamiento al compromiso social realizado ayer por Julian

Schnabel, nadie reprochó este viernes a Coppola su honesto elitismo al

retratar, en tiempos de crisis, el lamento de quienes nunca han cocido

un espagueti.

 

Y mientras se estarán preparando ya los fastos para su fiesta con Marc Jacos y con Maria Antonieta

como penúltima pieza cinematográfica, la cineasta sigue exhibiendo sin

pudor y con genialidad y sutileza el punto de vista de la pobre niña rica.

 

"Me

gusta ambientar las películas en hoteles porque yo pasé mucho tiempo en

ellos cuando viajaba con mi padre (Francis Ford Coppola). Es un mundo

es sí mismo y me gusta la sensación de no permanencia", explica.

 

Rodada en Milán, Los Ángeles y Las Vegas, Somewhere,

vuelve a ser un acto sostenido de prestidigitación de la cineasta:

siempre tiene truco, pero sin duda también magia. Mucha magia, en este

caso.

 

Y así, su buen ojo para la música, su talento para la

composición y su atmósfera se funden en una estructura narrativa casi

invisible, pero que sin embargo mantiene con vigor a la película en las

alturas del mejor cine.

 

La segunda cinta a competición fue la francesa Happy Few,

de Antony Cordier, que, por el contrario, se abona a la multitud al

filmar un cuarteto sexual y amoroso entre los actores Marina Fois,

Elodie Bouchez, Roschdy Zem y Nicolás Duvauchellex.

 

Teniendo en

cuenta que a este último se le recuerda más por su faceta de modelo de

Hugo Boss, sobra decir que la cinta apuesta por el preciosismo de

anuncio de publicidad.

 

"Es una historia de personajes que viven

una utopía pero que, finalmente, se dan cuenta de que son más normales

de lo que les gustaría y sienten celos, posesión...", explicó el

director. Happy Few acierta en su reflexión sobre cómo la

ruptura de tabúes sentimentales y sexuales requiere a veces, más que

apertura moral, una madurez sentimental capaz de sobreponerse a las

inevitables inseguridades, comparaciones y envidias. En definitiva, al

doble filo de la libertad. "La propuesta de los personajes es muy

pragmática. Inventan una nueva moral que encaje con sus deseos", aseguró

Fois. Pero el planteamiento teórico explota con el baño de realidad: si

ya es difícil que dos personas encajen emocionalmente, ampliar la

combinatoria a cuatro es sólo abrir la caja de Pandora.

 

Pero pese a la profundidad de Happy Few,

la cinta fue recibida con cajas destempladas porque, a pesar del sexo

explícito, la batalla la gana el exceso de almíbar en el tratamiento

estético y musical, así como en algunas secuencias íntegras de la

película.

 

Eso sí, la cinta se reserva el derecho de contener una

de las escenas más comentadas hasta el momento: una relación sexual

entre los cuatro protagonistas embadurnados en 40 kilos de harina. Pero

la reacción del público describe el principal lastre del filme. Antes

que la sensualidad o incluso la excitación, la gran cuestión fue si lo

que desconocía el director era la calidad espesante de la harina o el

requisito "sine qua non" de la lubricación para el buen sexo.

 

 

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Um Review..  Comparando Sofia a Woody Allen e Mike Leigh

 

REVIEW: “Somewhere” (***1/2)

Posted by Guy Lodge · 6:21 am · September 3rd, 2010

 

 

 

somewhere1.jpg

Who’d be Sofia Coppola? (As an artist, I mean – I’m sure plenty of

women would gladly trade for her beauty, wardrobe and Parisian rock-star

husband.) No sooner had her bijou, highly personal breakthrough picture

netted her an Oscar atop countless critical valentines than an acidic

chorus of detractors began chiding her for aiming too low. When she shot

for postmodern history and swirling visual excess in her strong

follow-up, “Marie Antoinette,” the same people gleefully decided she was reaching too high this time.

So when the pitch surfaced for her fourth feature film, it seemed

that Coppola may have been cowed into submission by her critics: another

story of a disaffected Hollywood actor adrift in hotel world, its

apparently similarities to “Lost in Translation” could scarcely pass without comment. Was Coppola playing it safe, or worse, exposing a limited creative arsenal?

The answer to both questions, happily, is no. With the wry, shimmery and thoroughly beguiling “Somewhere,”

Coppola has perhaps made exactly the film she needed to at this point

in her career: one that calmly takes stock of her abilities and

interests rather than pushing them too severely.

The director will, inevitably, take some

flak for making a third consecutive film about the alienating side

effects of celebrity and privilege – but as with Woody Allen and Upper

East Side intelligentsia, or Mike Leigh and Britain’s Tetley-swilling

middle classes, this is world she knows and feels, and if she feels a

responsibility to keep circling back to it in her work, then she should

do so.

None of which is to say that the film has nothing new to offer: her first U.S.-set project since her now decade-old debut, “The Virgin Suicides,”

it’s also her first film – coincidentally or not, made after becoming a

mother – to examine notions of family with any real clarity. Argue for

“Suicides” if you will, but while that blissed-out youth postcard

centers on a family, it’s not really about family: “Somewhere,”

on the other hand, begins as a solo portrait of Stephen Dorff’s scuzzy

movie star Johnny Marco, holed up indefinitely in L.A.’s Chateau Marmont

like the manboy counterpart to Kay Thompson’s Eloise, before deftly

folding in a network of relationships with his ex, his brother and, most

crucially, his daughter to assess the mark left by the unaccompanied

life.

dorff.jpgWithin

minutes of meeting Johnny on screen, the on-paper parallels to Bill

Murray’s Bob Harris retreat to the back of the mind: younger and less

secure in his skin, his loneliness is longer-standing and his discontent

more deeply ingrained. Coppola chooses to follow Dorff through a

fragmented sequence of activities before he is afforded a word of

dialogue, inviting us to assimilate the man through externals: his gaze,

his stance, his tattoos, his faintly decaying hipster’s uniform of

jeans, plaid and artfully scuffed work boots.

It’s an appropriately distanced introduction to a man who doesn’t let

much in, and Dorff underplays it beautifully, but both character and

actor are unlocked when Johnny’s 11 year-old daughter Cleo (Elle

Fanning) enters proceedings, and their warm, supple chemistry becomes

the film’s dominant motor. Smart and self-possessed, but not

preternaturally sage the way Hollywood so often likes its pre-adolescent

girls, Cleo is able to take care of herself in ways that become

increasingly poignant the more hints Coppola drops as to her upbringing

thus far; it turns out that father and daughter are mutually reliant at

alternating periods.

Both actors are a delight: it’s higher praise than some might think

to declare this Dorff’s finest hour, but it’s nonetheless a watershed

performance that reflects on his established screen persona while adding

softer accents. Fanning, meanwhile, is a quietly rewarding screen

presence, perceptive rather than precocious, and possessed of one of the

most deliciously subtle death-glares in the business.

somewhere.jpgFor

her part, Coppola has shifted (if not necessarily upped) her game too:

always languid, her filmmaking has never before been this patient,

lingering long past the obvious cutting point in observational scenes in

a manner that will bewitch some and enervate others.

This studied approach allows certain stretches of the film to gather

emotional momentum from relatively mundance beginnings, as in an

exquisite ice-skating sequence incongruously choreographed to Gwen

Stefani’s “Cool.” (Yes, the film sees Coppola embracing Top 40 pop,

though Phoenix are still on hand to provide the requisitely lovely

art-indie score.)

Trading her regular DP Lance Acord for the great Harris Savides,

meanwhile, is a move that pays off handsomely: as he also demonstrated

earlier this year in Noah Baumbach’s “Greenberg,”

Savides is able to make a virtual character of the hot, bleached Los

Angeles light that appears to be complicit in Johnny’s disorientation.

That I’m talking about light as a character should probably tip you off

that Coppola is at her most low-key in “Somewhere,” but there’s barely a note in this moving, finely wrought miniature that isn’t in key either.

 

 

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Early ‘Tree of Life’ Screening Impression Compares Film To ’2001: A Space Odyssey’

tree-of-life-jessica-chastain.jpg

A member of the Home Theater Forum was treated to an early screening of Terrence Malick’s long-awaited Tree of Life last night “at work.” I’d love to have his job. You can check out his impressions below a long with possible release news.

Saw TREE OF LIFE the other night at work and it really is
amazing
.
Hypnotic
,

more like. I won’t give anything about it away here, but yes it is long

and there has already been talk in the news about Malick releasing it,

then re-cutting it, then re-releasing it, etc.

The main bulk of the film is about his childhood growing up in Texas (reels 3-7 out of 9!). The “creation” footage is
outstanding, absolutely jawdropping
, and does indeed
feel like 2001
a lot of the effects are practical
and your eyes can see that, which makes it
really fascinating

to watch. I don’t have a problem with the creation footage being

connected to his boyhood, after all, most boys love dinosaurs, so that’s

how I looked at it.

The story is framed around the death of his middle brother (in

Korea?? We never know) and is a reflection on the circle of life, the

evolution of life out of the mess of the Big Bang, but also about life

itself (the strained relationship with his severe father,
a stunning performance by Brad Pitt
, just stunning), and the end of the Universe. I still haven’t given anything away that hasn’t already been said in the press.
The film just has to be seen to be believed! One feels like a child again, seeing the world through young wide eyes.

On possible release and runtime:

Yes, it is finished! I believe it releases
in October
but it may be a limited release. And yes again
it’s about 3 hours
! There is talk of a cut down version, which Malick did for New World as well, but nothing confirmed.

There you have it. Take it with a grain of salt, since it is just a

forum post, but it is better than nothing for what is my most

anticipated film of the year. If they do actually plan to release in

October, I’m surprised we haven’t heard anything. Stay tuned to TFS for

more Tree of Life details as they come.

Cain2010-09-03 17:28:19

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kristapley

 

The King's Speech is a

wonderful, touching story well told. Huge response from audience.

Firth and Rush are an impeccable pair. #TFF

about 1 hour ago

via Twitter for iPhone

 

 

Retweeted by you and 3 others

 

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Telluride Review: The Way Back

by Eugene Novikov Sep 4th 2010 // 4:13PM

Filed under: Thrillers, Telluride, Theatrical Reviews, War

thewayback.jpg

 

 

 

Peter Weir's The Way Back

enters the canon of survival films as perhaps the most sadistically

intent on making you feel as much of its subjects' physical agony as

possible. Despite its impeccable awards pedigree and prestige pic

status, it may be too straight-up harrowing to get much traction, either

with the Academy voters or at the box office. For those with the

fortitude to take the plunge, it offers an intense, morally thorny

exploration of the limits of human endurance.

 

 

 

Weir, the great Australian director of Picnic at Hanging Rock, Gallipoli, and The Truman Show,

is notoriously selective with his projects, and makes a film a couple

times a decade. This purportedly true story, based on the ghostwritten

memoir of Slavomir Rawicz (called The Long Walk,

not to be confused with the great early Stephen King novella),

obviously means a lot to Weir, and the movie gleams with painstaking

effort. According to Rawicz, he and his companions escaped a Siberian

gulag in 1940 and crossed the continent due south – on foot, armed with a

single knife and one sack's worth of food – to emerge from the

Himalayas into India in 1941.

 

 

 

 

 

 

 

The veracity of Rawicz's account has been widely questioned, but no matter – true stories rarely make great movies anyhow. The Way Back

rockets forward with the urgency and authenticity of real life. It

begins in Soviet-occupied Poland, as a military officer named Janusz

(the film's stand-in for Rawicz, played by the young English actor Jim Sturgess)

is interrogated and then sent to Siberia after his wife is tortured

into incriminating him. One of the year's most powerful scenes, this

stunner of an opening telegraphs the film's merciless, unflinching

approach. There's no physical violence on the screen, but Weir punches

us in the gut simply by training his camera on Janusz's face as his eyes

fill with fear, which turns to horror and then anger.

 

 

 

The gulag is torture. Desperately malnourished men fell trees in the

brutal cold or slave in poisonous gold mines. The guards inform them

that it is not fences, guards, guns or dogs that make up their prison,

but the murderous snow-swept isolation of Siberia. Inspired by a fellow

political prisoner (Mark Strong)

who latter turns out to be all talk, Janusz quickly hatches a plot to

cut the electrical wire and, during a snowstorm that will cover their

tracks, hoof it thousands of kilometers south to Lake Baikal. A subset

of the few prisoners who have retained some semblance of a will to live –

including an American expat (Ed Harris), a Russian hooligan with Stalin's face tattooed on his chest (Colin Farrell),

a priest (Gustaf Skarsgard), an artist (Alexandru Potocean), and a

teenage boy (Sebastian Urzendowsky) – come along. Uncommonly terse title

cars at the beginning of the film inform us that only three men

ultimately make it to India.

 

 

 

The first half of The Way Back is Peter Weir at his hypnotic best. Always adept at breathing life into landscapes – see the frightening outback vistas of Gallipoli, the mythic Central American jungle of The Mosquito Coast, and even the idyllic false suburbia of The Truman Show

– Weir all but personifies Siberia and (later) the Mongolian desert.

They seem threateningly to keep pace with our human protagonists. The

snow-covered trees and scorching sand dunes become the terrain of an

alien planet. The mines of the gulag are a steam-spitting horrorshow

scarier than anything in The Lord of the Rings. The film is

extraordinary at seeing these places as its characters would; even the

sweeping bird's-eye views seem like an expression of their fear.

 

 

 

The men's flight poses moral dilemmas. Colin Farrell's hardened, cynical

hooligan suggests, to Janusz's horror, that the advantage of having

recruited a half-dozen fellow travelers is that they will have something

to eat when things get rough. They encounter a helpless teenage girl (Saoirse Ronan),

similarly on the run and wonder if they can afford to save her life.

People start dying. When someone is clinging to his last breaths and can

no longer move, at what point do you forsake hope and tend to those who

still have a chance?

 

 

 

All of this makes for an intense, unpleasant experience. This is

particularly true in the last hour, which depicts an unremitting fight

for survival and turns rather mechanical and repetitive in the process.

It becomes, essentially, a series of obstacles and milestones: nomads,

thirst, the desert, a sandstorm; Mongolia, China, Tibet. The moral

ambiguity drains from the film, and Weir's artistry seems to take a back

seat to depicting the men's ordeal in as much horrifying, you-are-there

detail as possible. Which is engaging and gut-wrenching, but not quite

as interesting.

 

 

 

The Way Back brings a lot of talent and a tremendous amount of

craft to a movie that will be too painful for most people to endure.

There is nothing reassuring about it; no triumph-of-the-human-spirit

comfort. The story of these men is "inspiring," but only in the grimmest

possible way. The film suggests that it's always darkest just before

the dawn – if the dawn comes at all.

 

Cain2010-09-04 18:00:23

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kings_speech.jpg


Apologies to the readers who have been abuzz with news of the King’s
Speech’s rave reviews.  Variety’s Peter Debruge opens his review this
way:


Americans love kings, so long as they needn’t answer to

them, and no king of England had a more American success story than that

admirable underdog George VI, Duke of York, who overcame a dreadful

stammer to rally his people against Hitler. A stirring, handsomely

mounted tale of unlikely friendship starring Colin Firth and Geoffrey

Rush, “The King’s Speech” explores the bond between the painfully shy

thirtysomething prince and the just-this-side-of-common, yet

anything-but-ordinary speech therapist who gave the man back his

confidence. Weinstein-backed November release should tap into the same

audience that made “The Queen” a prestige hit.


And the Hollywood Reporter’s Kirk Honeycutt on the performances:


Firth doesn’t just make a British king vulnerable and

insecure, he shows the fierce courage and stamina beneath the

insecurities that will see him through his kingship. It’s not just

marvelous acting, it’s an actor who understands the flesh-and-blood

reality of the moment and not its history. It’s an actor who admires his

character not in spite of his flaws but because of them.

Rush is absolutely wonderful, and Hooper shoots him with all sorts of

angles, lighting and strange positions that makes him look like an

alien landed in 1930s London. Nothing much impresses him, and he is

supremely confident in his own expertise, even when challenged by a star

pupil and his coterie of advisers. He won’t yield an inch.

Carter is a revelation here despite a long career as a leading lady.

She makes Bertie’s wife into not just a warm and caring soul but a witty

and attractive woman who understands her husband much better than he

does himself.





6a00d8341c630a53ef0133f3c80322970b-500wi.jpg


Twitter has been abuzz for a while now with breathless tweets about

Danny Boyle’s 127 Hours — only one was slightly disappointed.  The 24

Frames blog at the LA Times says
:

In “127 Hours,” Boyle’s cameras (he used two

cinematographers, Anthony Dod Mantle and Enrique Chediak) never stop

moving. They soar over the desolate Utah canyons where Ralston was

stuck for all those hours. They swim through the water bottle as he

drinks his last drink. They penetrate his arm, as Ralston’s knife stops

when it hits bone. They enter a duffle bag that Ralston has put over

his head to stay warm in the 44-degree chill, the bag’s nylon shell

becoming a miniature movie screen in which Ralston briefly revisits the

world he has left behind and might never see again.


Most directors would have cut away from Ralston to focus

on the building rescue effort, but Boyle doesn’t. Franco is in

virtually every second of the movie. As he becomes increasingly

dehydrated, he starts to hallucinate, and it is after one such

hallucinations—in which Ralston thinks he might be seeing a son who is

not yet born—that Ralston decides to take dramatic action and cut

himself out.



< ="http://api.tweetmeme.com/.js?url=http%3A%2F%2Fwww.awardsdaily.com%2F2010%2F09%2Ftears-in-telluride-for-127-hours%2F&style=compact&service=ow.ly" scrolling="no" border="0" height="20" width="90">>



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vlw beckin!

 

se ninguém se manifestar nos próximos dias, ele é todo seu smiley36

 

---------------------

 

ótimas primeiras impressões p/ somewhere, the tree of life, the king's speech e 127 hours, com talvez um pouco menos p/ the way back, o final de ano promete!

 

e olha o amado pitt mais uma vez ai na parada querendo "roubar" uma vaga entre os 5 smiley36

 

tb acho q pelo estilo aparentemente pesado do black swan pode afugentar uma boa parcela de votantes ... vamos ver se pega pelo menos uma vaguinha ali no final
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Godard’s view of 2010 Governors Awards: “It’s not the Oscars.”

 

 

 

 

Godard-2.jpg

If the Academy Board of Governors isn’t aware of the damage they’ve

done to the perception of lifetime achievement Oscars, maybe the

reaction from one of this year’s legendary recipients will help it sink

in. In hearing how the BoG have dishonored the honorary Oscars by

relegating it to a private dinner party, Jean-Luc Godard feels it’s not

really worth flying to America for a free meal in a banquet room. His

wife Anne-Marie Mieville says Godard’s advanced age was also a factor,

but THR

reports she “made clear the director, 79, had issues with the fact that

the honorary Oscar was no longer part of the Oscar telecast.”

“He just told me, it’s not the Oscars,’” Mieville said.

“At first he thought it was going to be part of the same ceremony, then

he realized it was a separate thing in November.”

…Mieville said Godard will respond to the Academy’s letter notifying

him of his honor, and raised the possibility that someone from Godard’s

production team may accept the award instead of him.

But if the Academy was hoping to be left with warm and fuzzy

feelings, Mieville probably didn’t do so when she added, “Would you go

all that way just for a bit of metal?”

Maybe the next dignified step for Board of Governors to consider

would be to have somebody stand behind the Honorary Oscar recipients,

looking over their shoulders during the meal. “Eat those peas. No Oscar

for you until you clean your plate.”

The Oscar producers spend hundreds of thousands of dollars on a Swarovski crystal curtain

to glam up the stage of the Kodak Theater. But they’re only creating a

big glitzy scene from Burlesque if they insist on schlepping off the

real stars of cinema on a shuttle bus to a backroom ballroom.

Cain2010-09-06 17:18:26

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Oscar Predictions Revised: Director, Animation, Documentary, Sound

 

Picture+8.pngI'm working on revising the Oscar predictions. So far we've updated the extensive foreign film pages (yet, we're already behind again the news is coming so quickly), the animated and documentary categories, the aural categories like best score and song (I could use some help there -- offer it in the comments) and best director.

 

About Best Director.

After a banner year for diversity last year this year looks like a

return to the standard. It'll take a while for cinema's burgeoning

spread of voices to register on a frequent basis. If you fuse all my

predicted nominees together -- that'd be David Fincher, David O. Russell

(pictured left), Mike Leigh, Peter Weir and Christopher Nolan -- you've

got a 54 year old white auteur with 9 films under his belt who has been

nominated once before in this category and is generally perceived as

overdue for a win. But why would you fuse them together? That's only

something I sometimes do with statistics because I am weird.

 

Picture+9.pngI would have loved to predict Darren Aronofsky for Black Swan

(because I am a fan* in general, though I haven't yet seen the film),

but here's something I fear about the new 10 wide Best Picture system.

Though it gave us a nice spread of genre and mood and consensus last

year, I fear the noisy mainstreaming of that category will end up

drowning out the hoopla for those left of center choices that the

directorial branch sometimes honored in their gutsier moments. And if my

fears prove correct going forward, that'll be a real shame.

 

Your thoughts and armchair punditry are welcome in the comments as always.

 

*fan not stalker. Which I must differentiate because a friend of a friend of a friend did

point out his & Rachel Weisz's apartment to me the other day quite

unexpectedly, even though movies weren't even the topic of conversation.

The exterior was red. That's neither here nor there. I'm just sharing

for a bit of organic blog flavoring.

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Written by

NATHANIEL R

 

 

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08 de setembro de 2010

Oscar 2011

Conheça os filmes inscritos para seleção

 

 

 

oscar2-123x163.jpg23

filmes se inscreveram para participar da seleção do filme brasileiro

que poderá concorrer ao Oscar de Melhor Filme Estrangeiro de 2011

A Secretaria do Audiovisual do Ministério da Cultura recebeu até esta

terça-feira - 31 de agosto - 23 filmes para participar da seleção do

longa-metragem brasileiro que será indicado para concorrer ao prêmio de

melhor filme estrangeiro no Oscar 2011.

 

 São eles:

  • As Melhores Coisas do Mundo
  • A Suprema Felicidade
  • Antes que o mundo acabe
  • Bróder
  • Carregadoras de Sonhos
  • Cabeça a Prêmio
  • Cinco Vezes Favela, Agora Por Nós Mesmos
  • Chico Xavier
  • É Proibido Fumar
  • Em Teu Nome
  • Hotel Atlântico
  • Lula, o Filho do Brasil
  • Nosso Lar
  • Olhos Azuis
  • Ouro Negro
  • O Bem Amado
  • O Grão
  • Os Inquilinos
  • Os Famosos e os Duendes da Morte
  • Quincas Berro D’água
  • Reflexões de um Liquidificador
  • Sonhos Roubados
  • Utopia e Barbárie

Resultado

 O nome da produção brasileira escolhida será anunciado pela Comissão

Especial de Seleção, no dia 23 de setembro. Já os cinco filmes

selecionados para concorrer ao Prêmio de Melhor Língua Estrangeira serão

anunciados em 25 de janeiro do próximo ano. A cerimônia de premiação

será realizada no dia 27 de fevereiro de 2011.

Comissão

A Comissão de Seleção que irá escolher o filme brasileiro é composta

por membros indicados pelo Gabinete do Ministério da Cultura (MinC),

pela Secretaria do Audiovisual do Ministério da Cultura (SAv/MinC), pela

Agência Nacional de Cinema do Brasil (Ancine) e pela sociedade Civil

Organizada, representada pela Academia Brasileira de Cinema (CBC).

A banca será composta por Cássio Henrique Starling Carlos, Clélia

Bessa, Elisa Tolomelli, Frederico Hermann Barbosa Maia, Jean Claude

Bernardet, Leon Kakoff, Márcia Lellis de Souza Amaral, Mariza Leão

Salles de Rezende e Roberto Farias.

Você pode ajudar na escolha do filme que será indicado ao Oscar 2011 votando.

 

 

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Info do novo Eastwood (não é review):

 

Eastwood’s “spiritual chick flick”

Posted by Kristopher Tapley · 9:45 am · September 9th, 2010

 

 

eastwood.gifYou’ve probably read the countless link-backs to Geoff Boucher’s Hero Complex item

about Clint Eastwood and how the actor turned down roles like Superman

and James Bond in the 1970s.  Well, you wouldn’t know it, but those

quotes actually came in the context of an interview concerning “Hereafter,” Eastwood’s 32nd directorial effort which is set to play Toronto this weekend.

It’s a solid, conventional piece that builds up anticipation for what

may or may not be an Oscar play for Warner Bros.  There are no

screenings set in LA during the fest (or at least that’s what I’ve been

told), though Patrick Goldstein saw the film and had vague praise to offer almost a month ago.

We get an idea of the film’s plot throughout the piece, which also

includes quotes from star Matt Damon.  Writer Peter Morgan was also

interviewed but not quoted.  I’ll admit that I haven’t been following

its production.  Eastwood burn-out, maybe, but I’m beginning to sense a

fire of interest lighting up inside.  Then again, I guess that’s what

pieces like Boucher’s are meant to do, so, bravo WB publicity.

Continue reading »

 

 

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The tree of life ficou pro ano que vem então ? Espero que quando saia eu ainda teje vivo pelo menos 06. The Way Back é um que aguardo com bastante expectativa também.

 

Never Let me Go recebeu reações mistas mesmo mas mais pro lado positivo talvez. Já a Carey Mulligan é unanimidade, dizem que a atuação dela é ótima.

 

E andaram saindo as primeiras recepções a The Town, do Ben Affleck. Parece que é decente. Gostei do trailer.
Beckin2010-09-09 18:26:10
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W Magazine Features Blue Valentines

 

 

 

 

Posted on 09/09/10

 

22 Comments

 

 

 

 

 

 

They are both so pretty – it’s hard to even look at them.  So

glad to see this is getting the high profile treatment. Blue Valentine

is easily one of the standouts of 2010 so far (but that comes with a

warning that it’s a painful, heartwrenching film).  Click for high res. 

Two more after the cut.  Thanks to the fine folks at ONTD.

6ydxd2.jpg

se2fmh.jpg

a5dwtu.jpg

 

 

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