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Oscar 2020: Previsões

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Little Joe

First Reactions:

Antonio M Abate: I guess LITTLE JOE is that kind of sci-fi too easy to dismiss. Hausner essentially works with just one idea and one only, with no visual trickery whatsoever. Maybe there’s also not that much beneath the surface, but it doesn’t leave without traces.

Charles Bramesco: Haneke’s LITTLE SHOP OF HORRORS. This is why I come to Cannes, for out-of-the-blue bolts of brilliance like this. Mint lab coats, high-frequency nightmare score, slow zooms, wry aestheticized horror — so much to love here

Wendy Ide: Jessica Hausner’s LITTLE JOE will be divisive I suspect. But I rather liked its synthetic oddness

David Ehrlich: Jessica Hausner is a brilliant director but I *really* struggled with how this arthouse riff on Invasion of the Body Snatchers (or The Happening) conflates anti-depressants with an alien invasion

Emma Stefansky: LITTLE JOE is a weird plant movie made even more insidious by its subtle, insignificant consequences. what does it matter if something changes you, if no one can tell?? I love that creepy shit!! gimme that creepy shit

Alex Billington: A crafty, low budget, artsy kind of The Thing-meets-Little Shop of Horrors fairytale. The filmmaking is a bit stilted and way too slow but I love the idea behind this film and the cleverness of how they brought it to life. Destined to be a cult classic

Jessica Kiang: Considering my Hausner affinity, not to mention #JessicaSolidarity, it’s a surprisingly big no for LITTLE JOE from me. Love the pastel block-colour scheme though.

Luke Hicks: gorgeous cinematography & production design. mint greens, sky blues, and corals mixed with sharper neon violets, reds, and greens. the premise falls flat after hovering over the climax for so long, which ends up being banal. but hausner is onto something great

Patrick Heidman: Visually, LITTLE JOE is astonishing. Jessica Hausner composes images & colors like no one else. And the sound/score is really something…

Donald Clarke: I have already had several fights about Jessica Hausner’s LITTLE JOE, which I loved and others didn’t. I regard that as a good thing

Adam Woodward: Jessica Hausner’s Little Joe is bloomin’ marvellous

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Pain & Glory

First Reactions:

Dave Karger: It won’t be for everyone but I absolutely loved Pedro Almodóvar’s Pain and Glory. It’s sweet, sad, and at times off-the-charts sexy. Spain would be smart to select it as its Oscar entry and I’d love to see a Best Actor campaign for the never better Antonio Banderas

Richard Lawson: The more I think about the new Almodóvar, PAIN AND GLORY, the more I love it. It’s such a disarmingly calm and contemplative look at how, as we age, all the lusts of our youths start to seem not silly, but rather special and lovely—and just shy of irretrievable. Sigh

Gregory Ellwood: Almodovar’s Pain and Glory is definitely a slow burn. Second half is pretty compelling though. Antonio Banderas is very good, potential Best Actor play but that’s a BIG maybe.

Eric Kohn: So many filmmakers resort to movies about being successful tortured artists and the results can be excruciating. But not Pedro Almodóvar. PAIN AND GLORY is his best in years, and Banderas’ performance follows suit.

Yasmin Omar: Pain and Glory is far from my favourite Almodóvar, it’s rather subdued and thoughtful where others are loud and garish. An oversight that bugged me: the actress who plays elderly Penélope Cruz has blue eyes but hers are brown

David Jenkins: Need to rewatch Talk To Her first to check, but think Pain & Glory may be Almodóvar’s masterpiece. A gorgeous, wisful, contemplative, unselfconsciously tricksy, nakedly honest melodrama, every frame exudes supreme confidence.

Xan Brooks: Adored Pain & Glory btw. A graceful swan-dive through the past, perfectly played by a careworn Banderas. Feels like Almodovar’s saddest, warmest & most personal film

Alex Billington: Almodovar’s autobiographical film is not as fanciful as his other recent work, more intimate and emotionally driven. I appreciate his openness and the simplicity of the storytelling, it’s very personal filmmaking, just didn’t connect with me at all

Eugene Hernandez: Almodóvar is my fav film artist, his cinema deeply meaningful to me. PAIN & GLORY is prob one of his greatest works but it will take me time & repeat viewings to explain why.

Cedric Succivalli: I am watching PAIN AND GLORY for the…third time tonight, I would NOT miss Pedro’s Gala for the world. After a month or so, I still consider this one to his Magnus Opus.

Kyle Buchanan: The new Almodóvar is so, so lovely

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The Climb

First Reactions

Guy Lodge: I was charmed and rather moved by Michael Angelo Covino’s clever, tender debut feature THE CLIMB, which moves beyond Hangover-era laddishness to treat bromance as, well, romance.

Anne Thompson: Un Certain Regard breakout The Climb reminds me of Wild Tales, with its raunchy unexpected character-driven comedy vignettes, and a bit of the Duplass brothers, with its co-writer costars (Michael Covino also makes his directing debut). It also feels like a Netflix movie

Alex Billington: A wacky comedy about friendship, and love, and family, and life. Seven vignettes play out over years showing the ups and downs and obnoxiousness of life – focused on friends Kyle & Mike. Not at all what I expected but still amusing.

Eric Kohn: THE CLIMB is by far one of the best movies I’ve seen at Cannes 2019
— a hilarious testosterone-fueled buddy movie that reinvents the genre with acrobatic filmmaking to spare. If studio comedies were this well-directed, cinema would thrive

Alissa Wilkinson: may I say that if you can see THE CLIMB you absolutely should

Ryland Aldrich: THE CLIMB is a fantastic exploration of the heartache of true friendship. With his captivating filmmaking style and hilariously biting dialog, Michael Covino is about to burst into the hearts of both American and international indie film fans

Jack King: feels way, way more Director’s Fortnight than Un Certain Regard? It’s funny, don’t get me wrong — not a terrible amount of depth but it’s held up by some terrific camera work and lead performances. Can see potential for La Camera d’Or.

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Canção nova, original, de Elton John, que fecha o filme "Rocketman". Soa tão anos 1970: boba e purpurinada.

Entretanto, vou colocá-la nas concorrentes a Best Original Song. A assinatura conta muito, além dele ser um prévio vencedor na categoria.

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Olha quem voltou:

A Hidden Life

First Reactions:

Justin Chang: Terrence Malick is back, in every sense, and his A HIDDEN LIFE pretty much wrecked me.

David Ehrlich: Terrence Malick is back, baby! obviously his best film since “The Tree of Life,” but also a powerfully graceful portrait of defiance, and a provocative challenge to “Silence.”

Jason Gorber: The hills are alive with the meanderings of Malick. Film may thrill fans of director and imagery is suitably bucolic, but equally sees redemptive Nazis granting due process to a protagonist whose obstinate nature helps his beatification

Tom Page: A slight story given body by considerable emotional weight. Something for Malick to hang his never-better direction off, but is it compelling enough? It could lose an hour, but that would be to lose a course of this visual feast.

Tom Bond: Malick’s back baby! His style works so much better with serious topics and this WW2 tale of resisting the Nazis is a stunner. The first Malick to make me cry since The Tree of Life

Inney Prakash: Malick’s new film should satisfy those who feel he’s become too indulgent with the last few and mildly disappoint those who want a further departure from linearity. Plenty of beautiful moments, some mere imitations of life, lots of plant fondling.

Jake Coyle: Most of Malick’s films are spiritual but this is his most direct grappling with faith and conviction. Its 3rd act builds to an overwhelming crescendo and now I need to roll in the grass with my daughters. A beautiful & devastating rejuvenation for Malick

Todd McCarthy: Well, it’s a big swing and a miss for strike three with A Hidden Life, which sees the massively talented but often mystifying writer-director take on true-life material for the first time in this desperately indulgent and puzzlingly de-theologized study of an Austrian man who paid the ultimate price for his conscientious objector stance against the Nazis during World War II.

Mani Lazic: I found Malick’s A HIDDEN LIFE to be just fine; if the intimate story it tells is undeniably moving in itself, the big ideas that story represents are too spelled out for us in both dialogue and images. Strangely heavy-handed.

Luke Hicks: A HIDDEN LIFE is a breathtaking christian, pacifist manifesto. easily his best since THE TREE OF LIFE. august diehl and valerie pachner are so dreamy in malick’s australian mountainside spiritual epic.

Steve Pond: I understand that “Malick’s best since Tree of Life isn’t a resounding endorsement to everybody (though I liked a couple of the ones in between), but A Hidden Life really does feel monumental in a way nothing of his has in many years.

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Pintou a Palma? Futuro candidato da França?

Portrait of a Lady on Fire

First Reactions:

Anna Smith: Portrait Of A Lady On Fire is magnificent. I have a feeling that, years from now, I’ll still be talking about being part of this standing ovation

Caspar Salmon: Céline Sciamma has done it again! Loved this film whose central love story gains and gains in intensity. This is a love letter to Adèle Haenel as much as anything, a hymn to looking at the adored one. Very beautiful.

Becca Harrison: If there’s a dry eye in the house after Celine Sciamma’s Portrait of a Lady on Fire they must have been closed all the way through the film. Just wow. That was magnificent filmmaking. A stunning picture of women’s love and solidarity

Another Gaze: Bowled over by Céline Sciamma’s PORTRAIT DE LA JEUNE FILLE EN FEU (Portrait of a Lady on Fire), a gorgeous and generous study of womanhood, desire, and what it means to live fully in a world of constant confinements

Tim Robey: Céline Sciamma’s PORTRAIT OF A LADY ON FIRE overcame my initial reservations and, well, caught fire: it’s a gorgeous, elegant and teasing manifesto for feminine art, with a duet of tender lead performances from Noémie Merlant and Adèle Haenel

Guy Lodge: As a Sciamma devotee, I was unprepared for the ostensible mannered formalism of PORTRAIT OF A LADY ON FIRE, before I tuned into all the sensual life crackling beneath its starched shell. It plays as the work of a filmmaker very much in love; eventually, and deeply, we fall too.

Jordan Farley: Céline Sciamma’s Portrait Of A Lady On Fire is superb. Devastatingly restrained and sensual. Noémie Merlant and Adèle Haenel are achingly good. Will be surprised if it doesn’t win something big

Emma Stefansky: PORTRAIT OF A LADY ON FIRE is a slow, quiet burn, intense and sensual. one shot and line near the end felt like someone took my heart and squeezed. it’s also GOOOOOORGEOUS

Arash Azizi: My vote for winning Palm so far: Celine Sciamma for “Portrait of a Lady on Fire.” What a gorgeous, gorgeous film!

Isabel Stevens: Palme d’Or alert!! PORTRAIT OF A LADY ON FIRE: a tender 18th century love story that critiques women’s position in the world and banishes men to the background. The ending is something else. Plus the power of art!

FilmLand Empire: Windswept austerity, fire under the ice, female romance and camaraderie… The new Sciamma is a stunner with some haunting shots and a moving tenderness. Adèle Haenel should win best actress on the back of that final scene alone

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The Lighthouse:

First Reactions

Ella Kemp: Every frame of THE LIGHTHOUSE is stunning, every flinch of this wonderfully weird horror is insane in the best way. Robert Pattinson and Willem Dafoe are completely unparalleled, how exciting it is to be living at the same time as such talent!

AA Dowd: Dug it. Works better as lunatic comedy–and a showcase for Dafoe and Pattinson–than it does as horror. Lots of opportunity for Eggers to indulge his taste for stylishly archaic dialogue

Gus Edgar: THE LIGHTHOUSE: Eggers takes on masculinity, madness and merfolk, and it’s marvellous. Don’t think I’ve seen a better Dafoe performance.

Alex Billington: Two men on a rock in the ocean slowly go mad. Absolutely phenomenal, visceral, intense, hilarious filmmaking. Every shot is masterful. Score is astounding. Willem Dafoe & Robert Pattinson are incredible, plumbing the depths of insanity. Perfection

Jamie Graham: Robert Eggers’ The Lighthouse surpasses The Witch. An astonishing descent into madness… or ascent into the light.

Gregory Ellwood: Robert Eggers The Lighthouse is a two-fer character study featuring fantastic performances by Willem Dafoe and Robert Pattinson. Might be Pattinson’s best

Robbie Collin: Laughing with amazement at the end of The Lighthouse. Cinema!

Peter Bradshaw: Robert Eggers’s gripping nightmare The Lighthouse is the best thing in Cannes with sledgehammer performances from Willem Dafoe and Robert Pattinson, like Steptoe and Son in hell

Emma Stefansky: THE LIGHTHOUSE rips: it’s terrifying, hilarious, nightmarish, and Robert Pattinson and Willem Dafoe shamble around in flannels and longjohns the whole time, yelling stuff like “GET TO WORK, SAYS I!!” “BARK YOU DOG!!” don’t let anyone spoil this for you

Charles Bramesco: THE LIGHTHOUSE, or FART TO BE A GOD: to specify would rob the moment of its power, so suffice it to say that this film contains a vulva shot unlike any other. (Also, this would’ve slayed pretty much everything in Competiton I’ve seen so far.)

Xan Brooks: Robert Eggers’ The Lighthouse is an uproarious, hallucinatory dark-&-stormy night yarn. Joyously rolling with the cliches & performed with drunken abandon by Pattinson & Dafoe. Just fabulous, this

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Claro que eu quero que Bacurau vença um prêmio importante no @Festival_Cannes. Porém, acabei de ver o filme que se tornou meu favorito até agora: Portrait de la jeune fille en feu, de Céline Sciamma. Duas atrizes fantásticas e um plano final arrebatador. Tô encantado.

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Weekend Numbers:

1. John Wick 3: Parabellum $57M
2. Avengers: Endgame $29.4m ($770.8m, passing #Avatar last night for #2 domestic all-time. Projected final domestic B.O. north of $835m)!!!!
3. Pokemon: Detective Pikachu $24.8m ($94m)
4. A Dog’s Journey $2.5m (9m)
5. The Hustle $6.3m ($23.4m)
6. The Intruder $4.2m ($28.2m)
7. Long Shot $3.4m ($25.7m)
8. The Sun Is Also A Star $2.68m
9. Poms $2.3m ($10.3m)
10. Ugly Dolls $1.5m ($17.1m)

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On 5/18/2019 at 6:50 PM, SergioBenatti said:

Canção nova, original, de Elton John, que fecha o filme "Rocketman". Soa tão anos 1970: boba e purpurinada.

Entretanto, vou colocá-la nas concorrentes a Best Original Song. A assinatura conta muito, além dele ser um prévio vencedor na categoria.

 

Gostei. 

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The Young Ahmed

First Reactions:

Charles Bramesco: The Dardenne brothers’ teen-terrorist drama YOUNG AHMED isn’t nearly as racist as has been feared. That’s not to say it’s “good,” however

Tim Grierson: A troubling work that reveals more about its creators than their subject. And maybe that’s the point: The Dardennes are sincerely wondering how we grapple with extremists when we can’t understand their motivations. Their movie guesses but doesn’t know

Robbie Collin: I was not wild about Young Ahmed, in which the Dardennes come face to face with the first protagonist to ever defeat them

AA Dowd: YOUNG AHMED is reasonably gripping, and as starkly unsentimental as the rest of the Dardennes’ work. But it doesn’t entirely figure out its main character, which maybe why the ending they engineer for him feels so hollow—a botched Hail Mary.

Alex Billington: Eh. Way too manipulative and obvious, subpar Dardennes screenplay here trying to tackle a big topic of the day but this really isn’t their jam. I get what they’re doing with this kid and trying to respect him, it’s so plainly there, but nah it’s no good

Xan Brooks: If Young Ahmed was a novel, the Dardennes would be getting monstered for cultural appropriation. Different rules for film, it seems, & I *did* quite like this. Sad, gentle, well-intentioned tale of a radicalised teen at a crossroads

Joseph Fahim: The Dardennes, whose work enriched me for years, tackle Islam in their new film, ‘The Young Ahmed,’ and as a result end up with the worst movie of their career; an incredibly shallow yarn rife with dangerous stereotypes it never challenge

Stephen Miller: I am a sucker for the Dardenne style, but god did I love YOUNG AHMED. Risky subject matter, handled with signature intensity and grace

Joel Mayward: I’m still reeling. This is the Dardennes’ most direct treatment/critique of religion and ideology, as well as their most conventional and concise narrative. In this, it will likely be their most divisive film to date.

Yasmin Omar: As if there weren’t already enough one-dimensional presentations of Muslims as murderous fanatics, Young Ahmed adds to this tone-deaf canon with its culturally appropriative view of Islam. No thank you

J Sperling: “Young Ahmed” is a measured story from Belgian filmmakers Jean-Pierre and Luc Dardenne. It follows a young Muslim teenager who becomes radicalized and must deal with consequences of his extreme behavior. Less substance than one would hope for from the bothers.

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Frankie

First Reactions:

Tim Grierson: In which Ira Sachs largely achieves the offhand grace his films consistently seek. There are some narrative lapses, but the simple, focused wistfulness of the piece sweeps over you, building in force. Huppert is great, of course, but Marisa Tomei is sublime

AA Dowd: FRANKIE is definitely Ira Sachs’ Frenchest movie: a minor-key, melancholy gabfest about lives in transition, set against the scenic splendor of Portugal. Not a film I expect to stick with me too long, but certain images (like the last one) might

Ken Adams: can anyone do poignance like Ira Sachs nowadays, for real. Absolutely beautiful tales of the four seasons vibes, less Eustache this time around

Alex Billington: Relationships & family crash & churn like waves on a beach while on a vacation to Sintra, Portugal. A light film with a very tender touch. Ira Sachs is so wonderful at making his actors feel so comfortable in their roles, always a delight to watch them.

David Ehrlich: Isabelle Huppert at her most vulnerable. Brendan Gleeson in “sad dad on vacation” mode in khakis and a blazer. Jérémie Renier with a mustache. i can dig it.

Eric Kohn: FRANKIE is such a lovely low-key charmer. A Rohmer-like rumination on family, art, mortality, the usual jam. Not much happens but so much is said. Ira Sachs’ best ending

Tom Page: A brittle family drama with some friction, but Sachs spends too much time rummaging in the chaff when there’s more profitable kernels left wasted. And by that I mean more Brendan Gleeson please.

Gregory Ellwood: Frankie is at its best when no one speaks. Sachs can’t avoid exposition to the gods but Huppert and Tomei are superb

Jason Gorber: Frankly Ira Sach’s film is lovely, the story of a family headed by the always formidable Isabelle Huppert finds solace is decidedly unorthodox ways. Think of it as MAMMA MIA with a lot less ABBA and a lot more of an affecting and developed narrative

John Oursler: Marisa Tomei and Brendan Gleeson in FRANKIE are my favorite performances of the year so far. Authentically funny and emotionally resonant. A beautiful film abundant with beautiful moments.

Charles Bramesco: if you’re gonna die, you might as well be rich and bourgeois and in postcard-perfect Portugal while you do it. Huppert’s reached a point of iconhood where her movies bend around her instead of the other way around, and I’m all for it

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Once Upon A Time…In Hollywood

First Reactions:

Magdalena Miedl: ONCE UPON A TIME IN HOLLYWOOD is Tarantino’s most tender film. Who’d have thunk.

Jason Gorber: Historically dubious, thematically brilliant, QT finds his form in film that could win Palme d’Or or be picketed by audiences, or maybe both. Thrilling, provocative, blackly comical, intensely unsettling masterwork

Emma Stefansky: I reeeeally liked ONCE UPON A TIME IN HOLLYWOOD

Jordan Ruimy: QT’s latest has some of the best sequences of his career, but also some of the draggiest. A scrambling, ambitious, maddening, beautiful film. Brad Pitt steals the show. DiCaprio, as always, fantastic.

Isabel Stevens: Once Upon a Time in Hollywood or Tarantino’s bromance. Naturally in love with “the old timey movies” and LA. On set Western scenes are my fav. Wasn’t expecting to be so charmed by it

Joe Utichi: Once Upon A Time… In Hollywood is so gloriously, wickedly indulgent, compelling and hilarious. The film QT was born to make. The world is a more colourful place in Quentin Tarantino’s twilight zone. Round two, please.

Peter Bradshaw: Quentin Tarantino’s brilliant exploitation black-comedy Once Upon A Time In Hollywood finds a pulp-fictionally redemptive take on the Manson nightmare: shocking, gripping, dazzlingly shot in the celluloid-primary colours of sky blue and sunset gold.

Tim Grierson: Like a lot of recent Tarantino, this is baggy, self-indulgent, fascinatingly its own thing and ambitiously conceived. Of course it’s accomplished, sometimes dazzlingly so, but it ends up being as hit-or-miss as his last few

Xan Brooks: Tarantino lays a gaudy, explosive counter-culture circus. DiCaprio & (especially) Pitt terrific value under the lights, while evil scurries in the shadows. Some, um, third-act issues but the film’s highs are electric

Alex Billington: To be completely honest I’m not yet sure what to make of Once Upon a Time in Hollywood. Need to let this one marinate, don’t have an instant reaction. Most of the film is pretty good, I’m having fun watching them play around in late 60s Hollywood. Then the finale is HOLY FUCK.

Damon Wise: I wouldn’t change a single second of Once Upon A Time … In Hollywood. It did not disappoint

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14 minutes ago, SergioBenatti said:

Once Upon A Time…In Hollywood

First Reactions:

Magdalena Miedl: ONCE UPON A TIME IN HOLLYWOOD is Tarantino’s most tender film. Who’d have thunk.

Jason Gorber: Historically dubious, thematically brilliant, QT finds his form in film that could win Palme d’Or or be picketed by audiences, or maybe both. Thrilling, provocative, blackly comical, intensely unsettling masterwork

Emma Stefansky: I reeeeally liked ONCE UPON A TIME IN HOLLYWOOD

Jordan Ruimy: QT’s latest has some of the best sequences of his career, but also some of the draggiest. A scrambling, ambitious, maddening, beautiful film. Brad Pitt steals the show. DiCaprio, as always, fantastic.

Isabel Stevens: Once Upon a Time in Hollywood or Tarantino’s bromance. Naturally in love with “the old timey movies” and LA. On set Western scenes are my fav. Wasn’t expecting to be so charmed by it

Joe Utichi: Once Upon A Time… In Hollywood is so gloriously, wickedly indulgent, compelling and hilarious. The film QT was born to make. The world is a more colourful place in Quentin Tarantino’s twilight zone. Round two, please.

Peter Bradshaw: Quentin Tarantino’s brilliant exploitation black-comedy Once Upon A Time In Hollywood finds a pulp-fictionally redemptive take on the Manson nightmare: shocking, gripping, dazzlingly shot in the celluloid-primary colours of sky blue and sunset gold.

Tim Grierson: Like a lot of recent Tarantino, this is baggy, self-indulgent, fascinatingly its own thing and ambitiously conceived. Of course it’s accomplished, sometimes dazzlingly so, but it ends up being as hit-or-miss as his last few

Xan Brooks: Tarantino lays a gaudy, explosive counter-culture circus. DiCaprio & (especially) Pitt terrific value under the lights, while evil scurries in the shadows. Some, um, third-act issues but the film’s highs are electric

Alex Billington: To be completely honest I’m not yet sure what to make of Once Upon a Time in Hollywood. Need to let this one marinate, don’t have an instant reaction. Most of the film is pretty good, I’m having fun watching them play around in late 60s Hollywood. Then the finale is HOLY FUCK.

Damon Wise: I wouldn’t change a single second of Once Upon A Time … In Hollywood. It did not disappoint

Taí o filme do ano será?

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Pintou a Palma? O homem já fez o filme do século para mim ( Memórias de um Assassino) e agora parece que se superou.

Parasite

First Reactions:

Justin Chang: PARASITE is like SHOPLIFTERS on pricey Korean bath salts, and that’s a wonderful thing: so cumulatively tense, funny and terrifying, it’s almost unfair when it becomes utterly heartbreaking in the final stretch. Bong d’Or, please

David Ehrlich: PARASITE might be Bong Joon-ho’s best movie. it bundles up all his previous work into one angry, grounded, hilarious, and painfully bittersweet story about the horrors of co-existence in capitalism.

Xan Brooks: Bong Joon-ho’s Parasite is the darkest & funniest film in Cannes 2019 competition; the merciless eat-the-rich Upstairs Downstairs comedy-horror the world needs right now. It’s just brilliant

Wendy Ide: Parasite saves the day. Or my day at least, which had been veering between somewhat underwhelming and utter shit

Charles Bramesco: Bong goes back to basics as he goes back to Korea, returning to the sadistically hysterical class comedy of BARKING DOGS NEVER BITE. Instant love.

Alex Billington: A brilliant dark comedy and fantastic take down of rich people. One of Bong Joon-ho’s best films, and I LOVE his films. A masterclass in filmmaking, with perfect composition, every performance dialed in, and a genius screenplay with so much depth. IT RULES

AA Dowd: Mostly loved Bong Joon-ho’s PARASITE, an insane, ingenious farce about desperate times calling for some very desperate measures. Bong being Bong, the tone veers wildly, but always in service of the class politics.

Robbie Collin: Apols for the positive review overload but Bong Joon-ho’s Parasite just premiered at Cannes 2019 and it rips

Ella Kemp: Check back in after this adrenaline-headache has calmed down but, well, PARASITE: I screeched, gasped, stopped blinking for about 15 minutes and whooped so passionately. Bong Joon-Ho is absolutely regal, BOW DOWN BONG HIVE

Jake Cunningham: PARASITE is bong-kers satire, filled with heist zip and a walloping finale that makes a busted garden party feel like a levelled city. A tremendous time at the movies, that genuinely will appeal to a lot of audiences

Luke Hicks: what they say is true. bong joon-ho’s PARASITE is a perfect movie. laugh-out-loud funny, an astute blend of humanity & absurdity, thrilling til its final depraved moments, a modern architectural feast for the eyes, a razor-sharp socio-economic critique, etc

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Matthias & Maxime

First Reactions:

Emma Stefansky: MATTHIAS & MAXIME is another sweetness from Dolan, about how agonizing it is to watch people take their own pain out on the ones they love the most. someone dabs in this

Ella Kemp: MATTHIAS ET MAXIME is Xavier Dolan’s most tender and generous feature. It’s wonderful to see him so comfortable, mastering all the stories he knows so well: brotherhood, motherhood, friendship, affection. This film is so easy to love!

Charles Bramesco: impure pleasures, purely pleasurable. Not since MOMMY has the prince seemed so purposeful, petulant, or passionate. And yes, don’t worry, of course a character dabs in this movie

Gregory Ellwood: As someone who is a major critic of Xavier Dolan’s last two films I’m happy to say that his latest is very good. Max and Mattias or Mattias and Max. Leaves all the right questions unanswered

Richard Lawson: MATTHIAS & MAXIME is great! A poignant character study that’s sad and a little sexy and is made with care and restraint. A new era of Dolan dawns?

Alex Billington: Screened in 35mm. A story of how a kiss can ignite a spark, a feeling that just won’t go away. Feels like this was made in the early 2000s and pulled out of a vault. Doesn’t come together as nicely as I hoped, but glad to see Dolan experimenting

Jason Gorber: Xavier Dolan tells a drawn out story of friends with a spark that never manages to fully ignite. It lacks bite and direction, feeling more indulgent than anything despite some brief moments of warmth

AA Dowd: Missed Xavier Dolan’a last two movies, but I have to assume they had more spark than the drippy, prosaic MATTHIAS & MAXIME. I take back anything I ever said about wanting him to settle down a little!

Leonardo Goi: As someone who owes Dolan a great deal of emotional wreckage for MOMMY and LAWRENCE ANYWAYS (as was among those rare creatures who didn’t think IT’S ONLY THE END OF THE WORLD was that bad), MATTHIAS & MAXIME felt unnervingly flat & didactic. A return to form? Not yet

Niels Putman: MATTHIAS & MAXIME is a tender Dolan; a dramedy on friendship blues, queerness, dysfunctional families. Feels like Fassbinder at its best moments, a tad too sentimental at others but overall: heartfelt, funny, beautiful aesthetics

David Ehrlich: the new Xavier Dolan movie is actually pretty good! a tender, sensitive, ultimately unfocused riff on Humpday. but with a Britney Spears needle drop because of course.

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Oh, Mercy! (Roubaix Une Lumiere)

First Reactions:

James Healey: I LOVE Desplechin but this is absolutely awful. He should stay in his lane and stick to comedy. Running around back and forth with dull interrogation scenes made my Red Bull ineffective and still put me to sleep. The worst I saw at Cannes this year

Peter Bradshaw: The story, though, is force, supercilious and contrived, oddly, considering its true-crime origins.

Alistair Ryder: they really do let the dullest shit in the Cannes competition if it ticks the box of ‘being French’

Lee Marshall: From around its midpoint, this uneven film becomes a riveting, compassionate interrogation drama

David Ehrlich: Leá Seydoux Is Totally Wasted in Arnaud Desplechin’s Flat Procedural

Jean Baptiste Morel: Great Roubaix Une Lumière, which will certainly not be served by the fatigue that many begin to feel at the end of the festival. It is certainly the most beautiful script of the selection. And Roschdy Zem is exceptional

Julien Lada: Didn’t really get Desplechin’s approach with Roubaix Une Lumiere, who opens lanes which he ends up giving up on, and delivers a wobbly and deceptive thriller, but quite fascinating in the dynamics of domination of his feminine duet. Roschdy Zem at the top

Charles Bramesco: [LAW & ORDER jum-jum sound effect in French]

Thomas Gastaldi: In a normal Festival ok. But this is Cannes 2019. We can not be satisfied with a ‘good’ Desplechin with the most beautiful use of music in competition

Nat Brimmer: Léa Seydoux is still my hero. But this film is an unfortunate use of not only her but the charismatic Roschdy Zem and 2 long hours

Gwennaëlle Masle: a deadly bore that, at the end of the festival, hurts our patience. A movie about nothing, with nothing. Desplechin manages to make all his actors painful, it was frankly a torture.

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Vou colocar minhas apostas, o que escrevi no face:

- Little Women (Greta Gerwig)

"Four sisters come of age in America in the aftermath of the Civil War." entre as 4 irmãs tem a Saoirse Ronan e a Emma Watson, e ainda no filme tem a Meryl Streep, Laura Dern e Timothée Chalamet, e dirigido pela Greta Gerwig... Não sei se é legalmente possível não estar dentro.

- Harriet (Kasi Lemmons)

A atriz parece ser aquele furacão óbvio que já dá pra apostar até em vitória. E deve fazer uns 4 ou 5 anos que uma vencedora a atriz não tem seu filme ao menos concorrendo na principal (a Glen Close deve ter se ferrado muito por isso). Acho que chega.

- The Goldfinch (John Crowley)

Dramão baseado em livro vencedor do pulitzer com Nicole Kidman e Sarah Paulson, capaz que não vão querer que isso entre.

- A Beautiful Day in the Neighborhood (Marielle Heller)

Tem um Tom Hanks que parece em forma pra premiações e uma diretora que mostrou saber extrair muito de atuações, e até conduziu aquele roteiro bem cagadinho do "Can You Ever Forgive me?" pra um monte de coisas. Parece que vai ser um dos queridinhos.

- The Irishman (Martin Scorsese)

Acho que vai rolar uma boa vontade pra ter Scorsese e De Niro na noite, mesmo que não seja AQUELA COISA (mas tenho fé que vai ser)

- Us (Jordan Peele)

Todo mundo gosta do Jordan Peele e o cara vai lá e acerta na mosca de novo. Não tem porque não colocar.

- 1917 (Sam Mendes)

É cota de guerra.

- The Report (Scott Z. Burns)

Thriller politico com Adam Driver, esse já aí ta no topo das apostas de quase qualquer lista. E fora que a Amazon deve apostar uma grana pra entrar.

- Once Upon a Time in Hollywood (Quentin Tarantino)

As comparações com Pulp Fiction, elogios ao Brad Pitt e os comentários de ser emotivo fazem eu achar bem difícil ele ficar de fora.

- Rocketman (Dexter Fletcher)

Pra quem gostou tanto de Bohemia Rhapsody agora vão poder votar em uma coisa parecida mas que não dá vergonha de gostar.

- Ad Astra (James Gray)

Aposta sem sentido, mais uma torcida desesperada mesmo, como se finalmente tivesse chego a hora dele ser reconhecido. Mas eu estaria bem mais seguro se colocasse coisas como The Woman in the Window, The Laudromat (pela cota Maryl Streep) ou The Farewell no lugar.

E um bônus: The Truth, do Koreeda. Em um ano normal acho que Choplifters podia ter ganho estrangeiro, não fosse esse surto bizarro por Roma. Daí agora ele faz um em língua inglesa com Ethan Hawk, Juliete Binoche, Catherine Deneuve... Sei lá, pode rolar. Apesar de ser uma aposta meio nada a ver também.

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Concorrente a Melhor Animação vindo de Cannes

I Lost My Body – CRITIC’S WEEK GRAND PRIZE WINNER

FIRST REACTIONS:

Sam Clements: Wow. Jérémy Clapin’s I Lost My Body was something else. The 81 minute runtime is chock-full of innovative animation techniques. Dan Levy’s original score gave me chills (with a little Interstellar vibe!)

Fabian Lemercier: Animation sends sparks flying on the Croisette with the feature debut from French director Jérémy Clapin, I LOST MY BODY, a moving, inventive, and prodigious gem of storytelling

Mina Takla: Jérémy Clapin’s film is a unique, inventive if slightly undercooked, animated gem

Jordan Mintzer: A highly original and rather touching account of loss, both physical and emotional, this is the kind of mature animation flick that could find traction beyond the fest circuit.

Alex Billington: Oh wow. An ambitious, beautiful animated film that is much more than it looks. I adore this one, please seek it out. The score by Dan Levy is one of my favorites of Cannes 2019. It’s a bit creepy but very sweet, and moved me with it’s tragic dual-narrative story.

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