Jump to content
Forum Cinema em Cena

Oscar 2019 - Previsões

Recommended Posts


First Reactions:

Jamie Graham: Spike Lee’s true-life tale of an African-American cop infiltrating the KKK to head up his local chapter in the ‘70s is urgent & surprisingly funny, embracing the farce of the situation. Also tremendously relevant, blasting Trump’s America. John David Washington and Adam Driver both ace, as is the entire ensemble. After Chi-Raq and TV’s She’s Gotta Have It, this confirms that Spike Lee is back firing on all cylinders

Alissa Wilkinson: Spike Lee is, uh, not messing around

Amy Kaufman: Spike Lee bookends BlacKkKlansman with news footage from Charlottesville and an upside down image of the American flag that fades to black and white. Incredibly powerful.

Rebecca Keegan: Blackkklansman is the Spike Lee movie we’ve been waiting for.

Maria Wiesner: If there‘s one film you‘ll have to see in your cinemas after Cannes 2018  make it BlacKkKlansman by Spike Lee

Eric Kohn: Hot damn, BlacKkKlansman is electric. It’s simultaneously Spike Lee’s most entertaining film since INSIDE MAN and a savvy indictment of Trump-era bigotry right down to the chilling real-life climax.

Gregory Ellwood: BlacKkKlansman is Spike Lee’s best film in quite awhile even if it doesn’t always gel together. Powerful look at how little America has changed since early 70’s in race relations contrasting to today. Also quite funny at times.

Jason Garber: Spike’s latest joint is political and powerful, a nut punch to current American discourse on race, power and notion of maga. As a film it has flaws, but nice to see he’s regained a cinematic precision that’s been absent of late. Let dialogue begin. 

Peter Bradshaw: Spike Lee’s BlacKkKlansman is an undercover cop drama of the 70s race war that lights up like a pinball machine, pinging and flashing with N-bombs, blaxploitation tropes and unsubtle Trump premonitions.

Charles Bramesco: righteous agitprop that’ll crack you up when it isn’t making you heated with rage. Spike re-re-reaffirms his crucial place in the American cinema. Modern history, written with lightning.

David Ehrlich: so mainstream it feels like the start of a franchise, but that’s kinda part of its power — after all, The Birth of a Nation was a blockbuster. A wildly uneven but righteous fuck you to Trump, among other things. and so good for the Jews on a bad day. 

Alex Billington: Damn, Spike Lee is pissed. But the film is a super extra dark comedy about infiltrating the KKK and making fun of them as much possible, not to mention damning America and shaking the audience to wake us up to what’s going on. 

Link to post
Share on other sites
  • Replies 523
  • Created
  • Last Reply

Top Posters In This Topic

Top Posters In This Topic

Popular Posts

Da na Maria Bahiana via Twitter     

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

Ainda não sei se é um épico, ou uma lírica; se é grandioso, ou íntimo; se é coletivo, ou individual; se é a história do México, ou só uma lembrança. Só sei que é o melhor filme do ano! Não vou fi

Posted Images

The House That Jack Built (fora da competição)

First Reactions: 

Amy Smart: I really liked The House That Jack Built, Matt Dillon is great as titular serial killer. Opening sequence with Uma Thurman is perfect.

Mani Lazic: humorous take on the serial killer & his tropes, with stunning cinematography & Matt Dillon at the top of his game. Also y’all who said this was unbearable to watch are wimps lmao  

Alicia Malone: Lars Von Trier is trolling us, complete with a section of clips from his own movies. He uses excessive violence (which is more ridiculous than shocking) & misogyny as a form of self-examination… I’d be offended if it didn’t feel so empty

Jamie Graham: We’ve seen hundreds of serial killer films but we’ve never seen a serial killer film like Lars Von Trier’s The House That Jack Built. Repugnant, juvenile, tedious in places, but also an unblinking (self) study of the toxic male artist. A startling confession & apology 

Caspar Salmon: I decided I’d had enough after about 100 minutes, which is when I left. I’m a critic but I’m also a human being, and I don’t have to play a part in somebody’s elaborate system of torture. 

Ramin Setoodeh: the worst movie of the year. Lars von Trier’s ‘The House That Jack Built’ was one of the most unpleasant movie-going experiences of my life. 

Robbie Collin: The House That Jack Built feels like a suicide note.

Brad Miska: I would pay to see footage of all the snobby assholes in suits storming out of The House That Jack Built spewing obscenities in a rage. I pray IFC filmed everything.

Aaron Michael: so so soooooo many walkouts during THE HOUSE THAT JACK BUILT but jeez louise the people that stayed launch into massive applause at the end. I smoked my first ever cigarette after lol

Peter Bradshaw: Lars Von Trier’s The House That Jack Built is an ordeal of gruesomeness and tiresomeness, quite as exasperating as I feared, but leading to what I have to admit is a spectacular horror finale.

Guy Lodge: I think Lars von Trier is an all-time great filmmaker. And as such, when he fails, he does not fail unremarkably

Link to post
Share on other sites

At War

First Reactions:

Jamie Graham: The French know how to fight for their rights & Stéphane Brizé knows how to make a protest film. At War is 2hrs of fractious meetings & picketing, debating & arguing. Suffocating, in a good way. Missteps at v end. Vincent Lindon is one of the best actors on planet 

Ella Kemp: AT WAR shifts between galvanising anger and blunt exhaustion. Vincent Lindon leads a seamless ensemble of non-actors, the striking workers/fervent activists that France already knows all too well. A safe Compétition entry. 

Robbie Collin: Very into Stephane Brizé’s En Guerre, which is more or less the Avengers: Infinity War of shouty French acting. Impassioned, issue-driven social realism *with nuance and critique*! 

Alex Billington: Nearly two hours of French people arguing about jobs and corporations and money and greed. Gets a bit tiring because no one is going to budge but I admire the passion and idealism and importance of showing this story.

Tom Bond: a ferocious performance from Vincent Lindon in this belligerent socialist drama, but it hits the same beats too often and veers off-track at the end
Peter Bradshaw: Stéphane Brizé’s At War is a strident, cacophonous movie about a strike which finally immolates itself in angry in a preposterous style of martyred self-pity.

Charles Bramesco: an update of Eisenstein’s STRIKE that proves just how little things have changed since then. Shame on the capitalist leeches that feed on the workers’ labor. Set the bosses on fire.

David Jenkins: Stéphane Brizé’s At War charts the fiery and understandably shrill face off between union (good) and management (evil) at a French car parts factory facing foreclosure. Solid lefty polemic. Vincent Lindon plays shouty Jesus and could win a(nother) prize.

Mikko Pihkoluoma: Saw Thierry Fremaux teary-eyed at the end of En Guerre. An extremely well made characteristically French conversation piece about a strike that tries to prevent the closing of a local factory. Will likely win something at least.

Marc Klashorst: Like BlacKkKlansman, a lot of anger and not much else. Liked the intensity in this a bit more, but neither film is really good. Lindon et al. very good though

Joseph Owen: Brize’s En Guerre (AT WAR) stands in great tradition of strike films. Meticulously researched, very talky, attritional and repetitive–just like industrial action, then. Overplays hand at the end but the old French statists loved it. Macron maybe less so

Link to post
Share on other sites

Under The Silver Lake

First Reactions:

Alissa Wilkinson: UNDER THE SILVER LAKE is pretty pitch perfect as postmodern pastiche sunshine noir with rootless hipster East LA positioned as the end of history, which isn’t for everyone, but definitely for me 

Miriam Bale: I could not hate UNDER THE SILVER LAKE more. A complete turd. If you loved INHERENT VICE, you will hate UNDER THE SILVER LAKE. But also if you hated INHERENT VICE, you’ll probably hate UNDER THE SILVER LAKE.

Mani Lazic: UNDER THE SILVER LAKE is the worst film I’ve seen in a very long time. Why would you impose 2 hours and 20min of such meaningless bullshit on people? What does David Robert Mitchell want from us?  

Emma Stefansky: I lost track of all the classic Hollywood references crammed into UNDER THE SILVER LAKE about an hour in, but was charmed by its stylish, hazy flair and how it embraced the American cinema mythology that living in LA is like living in a dream  

Emily Yoshida: UNDER THE SILVER LAKE is exactly the kind of thing I want from this festival – ambitious, flawed, a vision. An LA film through and through,not just in setting but in its pace and cuckoo logic and knowingly ridiculous male gaze.

Beatrice Behn:  Under the Silver Lake fails terrifically. I love its potential, its knowledge of film history, pop culture, its camera and meta-dialogue. But alas, it loses itself in the overcomplicated plot & the slow pacing becomes a drag. But still: I want to see more of Mitchell.

Elena Lazic: I was bored out of my mind for the entirety of the juvenile, predictable UNDER THE SILVER LAKE, then the impossibly dumb ending made it even worse. A monumental waste of time.

Ella Kemp: UNDER THE SILVER LAKE convinced me it was so many different movies and I loved all of them.  

Gregory Ellwood: Under the Silver Lake is A LOT. Probably too much, but you can’t say David Robert Mitchell doesn’t have a vision. He’s just got a ton of them in one move.  

Guy Lodge: (C) Pulling off a genuinely haphazard-feeling hang movie actually takes a lot of structural finesse, and I don’t feel it here: fun to start with, but there’s no dreamy momentum to it. Garfield carries it just right; shame it’s so uniformly lousy on women.

Bilge Ebiri: UNDER THE SILVER LAKE: I might have liked that more in a world where Paul Thomas Anderson & David Lynch didn’t already exist.

Link to post
Share on other sites


First Reactions:

Emma Stefansky: BURNING is the slowest of burns, a leisurely noir that gradually paints an unsettling that gets weirder as it goes picture. The score is fantastic. Steven Yeun is utterly chilling  

Alisha Rouse: In the spirit of clawing some time back after a good film that would have benefited from a 2hr cut, Burning summarised: First hour – a man snored next to me. Last 1hr 25m – excellent. Ends.  

Mani Lazic: BURNING: the most unexpected mystery thriller, doesn’t follow any rules in the book & hits you with emotion by surprise. An assured & totally mesmerising slow-burn, yes!

Jessica Kiang:  Brimful to overflowing with BURNING love.

Alex Billington: Burning – Lee Chang-dong’s super slow burn thriller unravels in a very meticulous way. At two and a half hours, it’s a tough one to follow but kept me riveted at least. Has a dark core to look for if you’re into Korean thrillers like this.

Peter Bradshaw:  Lee Chang-dong’s Burning is superbly shot and scored – a mystery thriller of obsessive love based on a Murakami story, but with something of Patricia Highsmith or maybe a Ruth Rendell novel that Chabrol might have filmed.

Jordan Hoffman: Let it be known that Lee Chang-Dong’s BURNING features the magic hour marijuana haze dance sequence of the year and it is set to Miles Davis’ ELEVATOR TO THE GALLOWS. The rest of the movie is pretty substantially wow wow wow too.

David Ehrlich: Burning is a masterpiece

Douglas Greenwood: BURNING lures you in as a love story, and then tears you in two 150 minutes later as something completely different. So good looking it’s almost painful. Jun Jong-Seo is a goddamn star already.

Joesph Owen:  Lee Chang-Dong’s BURNING starts like Cat Person and ends freezing its nuts off. Just need to track the bits in between. The oleaginous, sadistic, Faulkner-reading Gatsby is a bastard modernist for today. Liked it 

David Jenkins: It’s late in the fest, raining and I’m hungry, so will just say that Lee Chang-dong’s Burning is pretty amazing. The slowest of slow burns, the grandest of pay-offs.  

Link to post
Share on other sites


First Reactions:

Jamie Graham: Kids surviving on the streets in Lebanese drama Capharnaum. Compassionate, harrowing social-realism from writer-director Nadine Labaki. Superbly made and acted. Has a real shot at the Palme d’Or  

Michelle Morgan: Just got out of CAPHARNAUM directed by Nadine Labaki. Gutted. This will won the Palm D’Or

Ali Benz: CAPHARNAUM is good. Masterful build-up but very Spielberg-y last act. Nadine Labaki directed her 2 main actors to perfection. Zain Alrafeea gave a performance I’ll put very high on every list that deals with excellence in acting.  

Dave Calhoun: Wish I’d actually put some money on my hunch that Nadine Labaki would win the Palme d’Or…

Ben Croll: CAPHARNAÜM may not be the best world cinema art film playing at #cannes71  but it’s certainly the MOST world cinema art film.

Caspar Salmon: Nadine Labaki’s CAPHARNAUM: a verdict in two parts. Part one: critical verdict. CAPHARNAUM is a sweeping, moving political drama full of humanity and sorrow, with an inhabited central performance by the lead child actor. Part two: appallingly non-critical verdict. CAPHARNAUM broke me in two. I started sobbing half way through and can’t seem to stop.

Xan Brooks: Capharnaum (Nadine Labaki) the most emotionally harrowing film I’ve seen at Cannes 2018. Destitute runaway, big bad city, abandoned toddler. Scrape me up off the floor, I’m done

James McAllister: Nadine Labaki’s CAPHARNAUM sure ain’t subtle, but it hits *hard*. At times deeply flaws, at others staggeringly sad. I’ll be shocked if this doesn’t win the Palme!

Jason Gorber: Moving, impactful work that touches on the survival instinct of a young boy and other economic refugees. Comparisons to FLORIDA PROJECT and even CITY OF GOD, it’s a film with a straight forward narrative that’s likely to have massive audience reaction

Robbie Collin: Nadine Labaki’s sensational Capernaum turns a street kid’s struggle into a kind of social-realist blockbuster. Middle hour is so crazily ambitious I’m not clear how she pulled it off: watch this win the Palme on Saturday, maybe the foreign language Oscar next.

Martyn Conterio: What a shame Nadine Labaki munsons things with Spielberg type schmaltz at the end of Capernaum. It touches true greatness until late in the third act. The kid was phenomenal.  

Link to post
Share on other sites


First Reactions:

Jamie Graham: Desolate shorelines & beautiful shots of ugly, hardscrabble landscapes populated by idiosyncratic ‘lowlifes’ engaged in petty crime… There’s something of Fellini’s early neorealist films to Matteo Garrone’s commendable Dogman. Plus, a supporting cast of mighty mutts

Mani Lazic: a quiet life disturbed by crime, full of funny moments that becomes an absurdist nightmare. Much lighter than GOMORRA but a great central performance. And so many good doggos! 

Veronika K Zajdela: Welcome back to the top, Mr. Garrone.

Alex Billington: Loved this. But that’s obvious, it’s a dog movie. Matteo Garrone’s latest is not profound but it is simply satisfying, all about a humble Italian dog groomer getting back at a bully. No animals were harmed in my enjoyment this film.

Tomasco Tocci: Nobody in Italy builds stories on faces and places like Garrone. When put in service of genre, he makes the best damn genre cinema you can hope for. A lean, compact micro-thriller. It’s actually the opposite of GOMORRA, going back to his early films instead. 

Robbie Collin: Matteo Garrone’s Dogman is a darkly funny frontier (im)morality tale closer in tone to Gomorrah than his more fantastical recent stuff, but the Fellini carnival spirit endures. And *so many* good boys. Loved!

AA Dowd: Not a whole lot going on in DOGMAN, which kept my interest but didn’t really take its theme of misplaced loyalty anywhere especially surprising. The lead performance is quite strong, though.

David Ehrlich: Matteo Garrone’s DOGMAN is a well-shot, beautifully acted, and thuddingly obvious parable about fascism and poodles. not strong enough to stick in the mind on day 3892 of #Cannes2018 .

Jordan Ruimy: There have been 4 or 5 films in this year’s competition that I would call indisputably great, Matteo Garrone’s DOGMAN is most definitely one of them. Marcello Fonte is almost a cinch to win best actor at Cannes this year, think a gaunt, younger version of Pacino.

Peter Bradshaw: Matteo Garrone’s Dogman is a compelling opera of beta-male criminal martyrdom – it actually comes closer to explaining the emotional inadequacy of gangsterism than Gomorrah.

Peter Howell: Matteo Garrone’s “urban western” of meek dog groomer’s complicated relationship with violent neighbourhood bully is more of a character study and morality play, but great storytelling by any definition. Best Actor for Marcello Fonte!  

Link to post
Share on other sites

Knife & Heart

First Reactions:

Elena Lazic: Yann Gonzalez’s lazy CRUISING-inspired bore KNIFE + HEART, like his YOU AND THE NIGHT, thinks it is more original than it is. The flashy visual style also feels ultimately random and pointless. Nice lighter moments, but Vanessa Paradis & Nicolas Maury deserve better.

Jamie Graham: Really enjoyed first half of gay-porn giallo Knife + Heart as it riffed on Fulci, Bava, De Palma & more. Who wouldn’t want a film with shades of Cruising and The Tenderness of Wolves contesting for the Palme d’Or? Then it spiralled down the plughole

Cassidy Olsen:  KNIFE + HEART is a hazy, terrifying, exploitatively French movie that makes me want to slather on blue eyeshadow and also never sleep again. Really enjoyed seeing the walkouts as soon as a dildo appeared

Mani Lazic: aims for dreamlike & lands in silly, somehow making the underground world of 1970s Parisian porn production look boring & not giving its people any depth

Ella Kemp: KNIFE + HEART could have been great, electric, as passionate its subjects. But Gonzalez quickly gets lost, somehow making devastating acts of crime and love feel like a pantomime. 
David Ehrlich: Paris, 1979. someone is murdering gay porn stars with a dildo switchblade and Vanessa Paradis is kinda getting off on it. A strangely inert film that plays like a giallo slasher directed by Kenneth Anger.

Tim Robey: Yann Gonzalez’ gay-porn-giallo-pastiche KNIFE + HEART peaks early, with a barked demand on set for a fluffer called Bouche d’Or. “Bouche d’Or!!!” I howled. How did it then get so dull?

Cedric Succivalli: Knife + Heart gets a big fat queer ZERO from me. Gurl bye! That was beyond atrocious, like WTF?

Sam Zimmerman:  Shout out to KNIFE + HEART. It’s the art queer slasher we need and Vanessa Paradis is so good she made me cry.

David Jenkins: With that set-up, that cast, those characters, that subject matter, those reference points, that title, how how how could Yann Gonzalez’ Knife + Heart be such an absolute drag?

Justin Chang: THE HOUSE THAT JIZZ BUILT. A shoo-in for the De Palma d’Or, as well as the Palme d’Orgy. 

Link to post
Share on other sites


First Reactions:

Jamie Graham: Ayka is a powerful tale of a woman abandoning her newborn baby & scrabbling to survive, the mobile camera sticking uncomfortably close. Suffers from being programmed the day after Capharnaum, & by inevitable comparisons to 4 Months, 3 Weeks & 2 Days  

Federico Polidoro: I just got out from the press screening of Ayka and, even if few people get out of Theatre in advance, I won’t surprise that much if it gain some great award this year  

Tim Robey: AYKA is basically post-natal Mungiu: baby abandonment, financial desperation. 5 days, 4 hrs, etc. Harsh, and stern, with way fewer plays for sympathy than Labaki yesterday

Simon Santiago: In Ayka, Sergey Dvortsevoy does a desperate and a little weary female portrait in the style of the Dardennes and stays too close to the model. Good female performance and an inspired ending for and otherwise correct film

Dominic Wakeford: Aside from some slightly clumsy bookending, this is a clear-eyed and unsentimental portrayal of one woman’s quest to survive in an unsympathetic world. The compressed time frame mostly works, and Dvortsevoy doesn’t give his audience much room to breathe

Martyn Conterio: *Loved* Ayka – as hard-going as trudging through snow in a blizzard, S. Dvortsevoy’s portrayal of a new mum doing a runner in an oppressive Moscow is a very rewarding experience. My Palme D’or nom (but it won’t win because Capernaum)

Mark Klashorst: interesting look at immigration issues in Russia. “Why don’t you have your babies in your own countries “, asks a nurse from the protagonist. Three decades ago they were countrymen, now one of them is a second rate citizen. Confronting

Paul Ridd: Loved the relentless, video-game aesthetic of AYKA. Reminded me of SON OF SAUL.

Matt Cipolla: aka THE GRAND CANNES-YAWN. Its realism is admirable, but this is some /incredibly/ slow cinéma vérité without nearly enough insight or variation to sustain its meager 100-minute runtime. A strong 65-minute film is in here and this isn’t it.  

Ken Adams: really bad, but I find hilarious that the same kind of crap like GODLESS receives acclaim while this seems to be getting a beating.

Mikko Pihkoluoma: Ayka is one of the top10 of the festival for me. Stunning portrait of a miscarriage. A lot of walkouts from the press screening.

Link to post
Share on other sites

36) Ayka - Oito anos depois de sua estreia com o belíssimo Tulpan, o cineasta cazaquistanês Sergei Dvortsevoy retorna com um filme protagonizado por uma personagem tão sofrida (a ótima Samal Yeslyamova) que a experiência se torna quase insuportável. 3/5 #cannes2018FranceFestivalCannes2018.png

Link to post
Share on other sites

37) O Homem que Matou Don Quixote - O roteiro caótico, enfraquecido ao longo dos anos necessários para a realização do projeto, fragiliza o filme - mas é a direção burocrática de Terry Gilliam que realmente desaponta. (E é a 1a. vez que não gosto de Adam Driver.) 2/5 #cannes2018FranceFestivalCannes2018.png

Link to post
Share on other sites

The Wild Pear Tree:

First Reactions:

Jamie Graham: Adored Ceylan’s Wild Pear Tree, which plays something like a 188-mins Turkish take on Linklater’s Slacker – walking & talking about everything from responsibility of artist to Koran, technology to free love vs arranged marriage. A heavyweight fathers & sons tale, too  

Alex Billington: Oh my. Cannes dropping the most profound film last at the festival. Nuri Bilge Ceylan digging very deep into the metaphysical and existential. I think this film just broke me.

Tim Grierson: An endurance test about fathers, failure, the black hole of anger, and the passage of time that gathers emotional heft as it goes along. There’s too much of it, but I really like where it ends up.

Robbie Collin: I’d be lying if I said I was in the mood for three-plus hours of talky drama tonight, but Ceylan’s The Wild Pear Tree is a real mesmeriser – a rangy, discursive fable of prodigal fathers and sons, and one of the best-looking films at the fest.

Jordan Hoffman: I’ve seen 1000 movies about the “Angry Young Man” but never one as calm, beautiful and earnest as this. Best ending ever, and best end to Cannes 2018

Stephen Miller: Ceylan goes Linklater in the sprawling, talky, metafictional WILD PEAR TREE. Literature, religion, risk v contentment, class angst. Like the book at the center, I haven’t fully digested it; but it sure has a lot of pages and TINY print.

Bilge Ebiri: I giggled like a maniac through the first half of Nuri Bilge Ceylan’s THE WILD PEAR TREE, thinking he’d made his funniest film yet. Then I bawled like a broken child in the last act. This is a hundred times better than WINTER SLEEP.

Donald Clarke: Very much liked THE WILD PEAR TREE. Just about makes the case for conversation as cinema. Has more momentum than WINTER SLEEP.

Martyn Conterio: Nuri Bilge Ceylan’s The Wild Pear Tree, about a complicated father and son relationship set in rural Turkey, is absolutely brilliant. It’s a long road to the ending, of course, but my god what a payoff! Ceylan’s film has the richness and depth of great literature

Arash Azizi: What a magical beauty was Nuri Bilge Ceylan’s “Wild Pear Tree,” a fitting end to my Cannes and easily the best of the festival. Three haunting hours and not a minute too long. Memorable dialogical scenes, one day to become canonical. Masterpiece. My score: 5/5

Rory O’Connor: Nuri Bilge Ceylan’s THE WILD PEAR TREE – A stunning film about fathers and sons. Demands a lot, but worth every minute for the emotional payoff.

Link to post
Share on other sites

Fico muito feliz e, ao mesmo tempo, ansioso pra ver esse filme. Hirokazu Koreeda é de uma delicadeza sem paralelo...Não saberia escolher qual é o mais bonito entre "Still Walking', "Nobody Knows", e "Like Father, Like Son", fora os outros...

Para o Oscar, Japão, Egito, Polônia, e Colômbia, têm potenciais representantes muito fortes.

"BlackKKlasman" sai muito bem com esse segundo lugar, Grand Prix, bem cotado pra uma vaga de Roteiro. Diretor eu já não sei.

Link to post
Share on other sites
  • 2 weeks later...

Join the conversation

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

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.



  • Create New...