1st Part — july 11th to 21th
Drama - BE/NL- 2018, M/14, 109 min. V. O. em Francês e Flamengo/Legendado em Português/English Subtitles
Realização: Lukas Dhont
Argumento: Lukas Dhont, Angelo Tijssens
Fotografia: Frank van den Eeden
Com: Victor Polster, Arieh Worthalter, Oliver Bodart
"I don't want to be an 'example' - I want to be a girl", answers Lara to her father, when he congratulates on her exemplary behavior. Lara, a 15-year-old transgender girl who aspires to be a professional dancer, moves in with her father and little brother to attend a renowned ballet academy. She is at a critical moment: in the middle of puberty, with the upcoming test in the most prestigious ballet school in Belgium and on full hormonal treatment.
In 2009, Dhont read a newspaper article about Nora Monsecour, a Belgian transgender dancer. The young director immediately offered to make a documentary about her life, but she refused. However, Monsecour was very involved in the casting and shooting of the film.
Girl, Caméra d'Or at the Cannes Film Festival in 2018, is Lukas Dhont's first feature film after his three previous short films on stories of young people in crisis. It is also the discovery of the talented Victor Polster as an actor.
2018: Festival de Cannes: “Un Certain Regard” - Prémio Melhor Actor Victor Polster
2018: Festival de Cannes: Prémio FIPRESCI
2018: Festival de Cannes: Câmera de Ouro - Lukas Dhont
2018: European Film Awards: Melhor Descoberta Europeia
Drama - CO, 2019, M/14 - 125 min. V. O. em Guc, Espanhol e Inglês/Legendado em Português/English Subtitles
Realização: Cristina Gallego e Ciro Guerra
Argumento: Maria Camila Arias, Jacques Toulemonde, Cristina Gallego, Ciro Guerra
Fotografia: David Gallego
Com: Carmina Martínez, José Acosta, Natália Reyes
Located in the arid coastal region of Guajira, Colombia, among an indigenous people known as Wayuu, Birds of Passage takes place over a twenty-year period immediately after the years of La Violencia - a bloody civil war where hundreds of thousands were killed - and ends just before the beginning of the narcocracy of the 1980s, led by Pablo Escobar.
The focus on the simple lifestyle of the Wayuuu, as they are guided by conversations with their dead ancestors or rely on the interpretation of dreams to decide courses of action, provides the Birds of Passage with a ghostly atmosphere, occasionally surrealistic.
Cristina Gallego and Ciro Guerra explored the loss of indigenous cultures. The Wayuu has resisted or ignored attempts at assimilation; its moral codes, rites, rituals, and customs have remained unchanged for so long that elders boast of having resisted the English and Spanish empire. It is not just about their rich and justified history of non-conformity and entrenched resistance to Western customs; Birds of Passage is fundamentally about the conflict between tradition and modernity; codes of honour and reciprocity destroyed by greed, materialism and mistrust.
2018: Cairo International Film Festival: Melhor Argumento
2018: Chicago International Film Festival: Melhor Direcção de Arte, Melhor Fotografia
2018: Festival de Havana: Melhor Filme
2018: London Film Festival: Melhor Filme - Menção Honrosa
Comédia, Biografia, Crime - US, 2018, M/14, 135 min. V. O. em Inglês/Legendado em Português
Realização: Spike Lee
Argumento: Charlie Wachtel, David Rabinowitz, Kevin Willmott e Spike Lee
Fotografia: Chayse Irvin
Com: John David Washington, Adam Driver, Laura Harrier, Topher Grace, Alec Baldwin
BlacKkKlansman portrays racial issues in the United States in the late 1970s. The protagonist is Ron Stallworth (John David Washington), an African-American policeman from Colorado Springs, who successfully infiltrates the local branch of the Ku Klux Klan with the help of a Jewish colleague (Adam Driver).
Based on Stallworth's own memoir, BlacKkKlansman is a film between drama and comedy in which the past is directly compared to the political context of the United States of 2018. No matter how much Spike Lee plays with the mechanics of blaxploitation fantasy, he finally leaves no one in any doubt about what is real.
2018: Festival de Cannes: Grande Prémio do Júri
2019: Óscar: Melhor Argumento Adaptado
2019: Prémios BAFTA: Melhor Argumento Adaptado
2019: Prémios CinEuphoria: Melhor Filme
2019: Denver Film Critics Society: Melhor Argumento Adaptado
Comédia - FR - 2018, M/12, 88 min. V. O. em Francês/Legendado em Português/English Subtitles
Realização: Judith Davis
Argumento: Judith Davis, Cécile Vargaftig
Fotografia: Emilie Noblet
Com: Judith Davis, Malik Zidi, Claire Dumas
Angèle was 8 when the first McDonalds opened in East Berlin. She does not resign herself to the fact that she was born in a time of widespread political scepticism. Angèle comes from a family of activists, although her mother abandoned the political struggle to move to the countryside, and her sister chose the business world. Only her father, an old maoist with whom she lives again, remained faithful to his ideals.
This is the debut as a director of the actress and activist Judith Davis. The film is the result of 10 years of performance of the play, Tout ce qui nous reste de la révolution, c'est Simon, which in turn is a consequence of reflections, experiences and political-existential doubts of the collective "L'avantage du doute" of which Davis is part.
The play is inspired by the following quote from Marguerite Duras: "For me, political loss is first and foremost the loss of self (...) the loss of imprudence as much as of moderation, the loss of excess as much as the loss of measure, the loss of madness, of naivety (...)".
And both the film and the play revolve around the question: Can we still talk about the revolutionary feeling?
2018: Film Francophone D’Angoulême: Prémio do Júri
Drama - ES, 2017, M/12, 97 min. V. O. em Catalão/Legendado em Português/English Subtitles
Realização e Argumento: Carla Simón
Fotografia: Santiago Racaj
Com: Laia Artigas, Paula Robles, Bruna Cusí, David Verdaguer, Fermí Reixach
Summer 1993, written and directed by Carla Simón, premiered at the 2017 Berlin Film Festival to immediate acclaim. The film portrays Frida, a six-year-old girl, who after the death of her mother is forced to leave Barcelona to join her uncle's family in the country. Dealing with much difficulty to forget her mother and adapt to her new life, Frida explores her new environment, an old stone farm in a mountainous area near a dense forest.
With Summer 1993, her first feature film, Carla Simón manages to create a rich and vivid world from her own turbulent pre-adolescence, although the film unfolds in a way that makes its nature deeply personal.
Cinematography and settings are an obvious source of visual and emotional pleasure, but it is on a deeper level that this film makes its greatest impact. It says a lot about the importance of the family and how young children absorb and live a loss. This is a film that leaves a deep mark.
2017: Festival Internacional de Berlim: Melhor Primeiro Filme
2017: Festival Internacional de Cinema Independente de Buenos Aires: Melhor Realização
2018: Prémios Goya: Melhor Director, Melhor Actor Secundário, Melhor Actriz
Animação, Ação, Drama - BR, 2018, M/6, 73 min. V. O. em Português/English Subtitles
Realização: Gabriel Bitar, André Catoto, Gustavo Steinberg
Argumento: Eduardo Benaim, Gustavo Steinberg
Direcção Artística: Chico Bela, Vini Wolf
Com: Denise Fraga, Pedro Henrique, Matheus Nachtergaele, Mateus Solano
The Brazilian animation feature Tito and the Birds, directed by Gustavo Steinberg, Gabriel Bitar, and André Catoto, tells the story of a boy who is responsible, along with his father, for finding the cure for an illness. The world is gripped by an epidemic: a virus is paralyzing people with fear, shrinking them into blobs and eventually turning them into rocks.
Visually, Tito e os Pássaros mixes various painting and animating styles into a beautiful fusion with a musical score and cinematography that is sure to marvel audiences. The animation is outstanding. It's beautiful and subtle in its designs, leaving room for the viewer to synthesize and to dream
2018: Catalonian International Film Festival: Anima't Award
2019: Prémio do Público da Competição de Longa-metragens da Monstra – Festival de Animação de Lisboa
Drama, Thriller - ES, 2018, 133 min. M/12. V. O. em Espanhol/Legendado em Português/English Subtitles
Realização e Argumento: Asghar Farhadi
Fotografia: José Luis Alcaine
Com: Penélope Cruz, Javier Bardem, Ricardo Darín
Everybody Knows, written and directed by the two time Academy Award-winning Asghar Farhadi (The Salesman, About Elly), is a crime/thriller film starring Javier Bardem, Penélope Cruz and Ricardo Darin. The story is set in Spain, near Madrid, and explores the kidnap of a teenage girl on a family wedding night, leaving everyone in absolute despair. Laura is a spanish woman living in Buenos Aires, who returns to her hometown with her 16 year old daughter Irene and eight year old son Diego for her sister's wedding.
The plot is rich and, as the film evolves, vast number of secrets and lies within the family circle are revealed, a fact that enhances the mystery and suspense elements of the story. Although beautifully shot and exceptionally well-acted, Everybody Knows turns into a more dark psychological study of people under extreme pressure than the kidnapping thriller which it's been marketed as. The film examines what can happen when intense pressure causes long-buried secrets to rise to the surface.
2018: Festival de Cannes: Nomeado Palma de Ouro
2018: The Platino Awards for Iberoamerican Cinema: Melhor Actor, Melhor Actriz
Documentário - UK, 2018, M/12, 115 min. V. O. em Inglês/Legendado em Português
Realização, Argumento e Fotografia: Mark Cousins
Com: Mark Cousins, Beatrice Welles, Orson Welles
A love letter to Orson Welles. Narrated by Mark Cousins, explores Welles' life, loves, philosophy and films through hundreds of his sketches, paintings and coal drawings. Cousins' voice is well known because he hosted a series of BBC cult films and directed in 2011, The Story of Film: An Odyssey, 15 television episodes on the history of cinema.
Cousins alternates between asking questions of Welles, asking about the most hidden part of his mind, and giving him news of the future: a transformed New York, a world with internet, "a guy who thinks he's Charles Foster Kane" at the White House. And Welles answers.
Beatrice Welles, Orson Welles' daughter, asked in the 2018 Cannes edition that Netflix reconsider its decision to withdraw Welles' posthumous work, The Other Side of the Wind, from the festival program. Faced with Netflix's refusal, the festival decided to include The Eyes of Orson Welles, winning “L'oeil d'Or”.
2018: Festival de Cannes: Prémio Olho de Ouro - Menção Especial
2018: Odessa International Film Festival: Nomeado Melhor Documentário Europeu
2018: Edinburgh International Film Festival: Nomeado Melhor Documentário
Fantasia, Drama - SE, 2018, M/12, 101 min. V. O. em Sueco/Legendado em Português/English Subtitles
Realização: Ali Abbasi
Argumento: Ali Abbasi, Isabella Eklöf (Romance: John Ajvide Lindqvist )
Fotografia: Nadim Carlsen
Com: Eva Melander, Eero Milonoff, Viktor Akerblom
Tina is a customs officer at the border between Sweden and Finland. She has the strange ability to smell people’s feelings. This makes her formidably effective, since she can sniff out smugglers. But when she meets Vore (Eero Milonoff) an apparently suspect man, her abilities are put to the test for the first time…
This is a story of romance, crossed with a crime narrative that, far from comical, deepens the two main characters.
If Tina feels attracted to Vore, it is because she has finally found someone who treats her as an equal. This is a romance that never bases itself on classic superficial gender issues, because the connection between the two of them goes to the roots of their identities and their worldviews. The film also uses the images that connect the characters with nature to great effect.
As Tina’s character progresses, Border questions several concepts that society has normalized, such as normative beauty, romantic love and revenge.
From the same scriptwriter of Let the Right One In, Border sees the young Swedish-Iranian director Ali Abbasi achieve an original and powerful story that approaches the fantastic.
Border re-imagines elements of regional folklore, inserting them into the contemporary world, without compromising the story’s solidity or credibility.
2018: Festival de Cannes: “Un Certain Regard” - Prémio Melhor Filme
2018: Hamptons Film Festival: Prémio especial de Interpretação (Melander e Milonoff)
2018: Festival de Valladolid - Seminci: Secção Oficial
Comédia, Drama - Portugal, 2018, M/14, 96 min. V. O. em Português/English Subtitles
Realização e Argumento: Gabriel Abrantes, Daniel Schmidt
Fotografia: Charles Ackley Anderson
Com: Carloto Cotta, Cleo Tavares, Anabela Moreira, Margarida Moreira, Carla Maciel
Diamantino is a world-class football player, even seen as one of the best, who carries on his back the symbol of Portugal in the world championship. Diamantino is a star who shines all over the field, next to very furry and giant canine figures (they are what he sees on the pitch alongside the goals), he then suddenly loses his mojo, his shine, and enters in a negative spiral that ends his career in the worst way.
Admired up to the moment for his dexterity with his feet and for the hope he produced for his country, two characteristics become all too evident and get mixed in identical doses in the course of the narrative: his naivety and his ignorance. It's in this way that the international icon initiates a hilarious odyssey of self-reflection, always in search of the purpose of life, where he is confronted with themes that he had never before reflected on: neo-fascism, the refugee crisis and genetic modification.
With Carloto Cotta as protagonist, this dramatic comedy, with the signature of Gabriel Abrantes and Daniel Schmidt, premiered at the Cannes Film Festival, where it won the Critics Week Grand Prize and the Palm Dog Award (best canine performance in a film).
2018: Festival de Cannes: Grande Prémio da Semana da Crítica; Palm Dog
2018: Cine Ceará Festival Ibero-americano de Cinema: Prémio Melhor Montagem
2018: Philadelphia Film Festival: Prémio Especial do Júri - Longa-metragem de Ficção
2018: Portland International Film Festival: Prémio do Júri - Best of Ways of Seeing
Drama - FR, 2000, M/6, 82 min. V. O. em Francês/Legendado em Português/English Subtitles
Realização: Agnès Varda
Fotografia: Stephane Krausz, Didier Rouget, Didier Doussin, Pascal Sautelet e Agnès Varda
Com: Agnès Varda, Bodan Litnanski, François Wertheimer
With this film we want to pay homage to the recently deceased Agnès Varda, considered by some film critics as "the grandmother of the Nouvelle Vague" and one of the pioneers of cinema made by women and feminist cinema. In recent years, she had already received important honours, such as the "Palme d'Or" for her career at the Cannes Festival in 2015, the "Donostia" of San Sebastián in 2017 and the honorary "Oscar" for her entire career in 2017.
The painting The Gleaners, by Jean-François Millet, where a group of women gather wheat ears under the intense afternoon sun, is the starting point of this documentary, in which they travel around different parts of the country in search of stories that connect with the idea of harvesting. Varda, as a filmmaker, is also a glaneuse (gleaner, collector), hence this title.
The Gleaners and the gleaner makes a fierce criticism of the unbridled consumerism of our time, defending recycling and voluntary degrowth as the only way out.
2001: Círculo de Críticos de Nova Iorque: Prémio Melhor Documentário
2001: Prémios do Cinema Europeu: Melhor Documentário
2001: Associação de Críticos de Chicago: Nomeado Melhor Documentário
2015: Festival de Cannes: Palma de Ouro de Carreira
2nd Part — august 1th to august 11th
Drama - KR, 2018, M/12, 148 min. V.O. em Coreano/Legendado em Português/English Subtitles
Realização: Lee Chang-Dong
Argumento: Lee Chang-Dong, Jungmi Oh (Conto: Haruki Murakami)
Fotografia: Kyung-Pyo Hong
Com: Yoo Ah In, Yeun Steven, Jun Jong-seo e Seong-kun Mun
Burning is a film by the Korean director Lee Chang-Dong, based on the short story Barn Burning by Haruki Murakami. It received critical acclaim at the Cannes Film Festival and has been deemed one of the best films of 2018.
Jongsu is a young man who stumbles upon Haemi, an old childhood friend who invites him out on a date. But just as the relationship is beginning to blossom, she departs for Africa, leaving him in charge of her cat. Upon her return, Jongsu finds out that Haemi has met another guy, a young and wealthy man that Jongsu likens to The Great Gatsby. Shortly thereafter, Haemi goes missing…
Somewhere between Faulkner and Murakami, Burning has a magnetism that is hard to explain. There is a suspenseful tone, but from a personal and introspective point of view. This is a story of uncertainty and obsession, where the characters’ lives unfold naturally. The atmosphere of Burning will most probably be coming back to us for some time after seeing the film.
2018: Festival de Cannes: Selecção Oficial, Prémio FRIPESCI
2018: National Board of Review (NBR): Top dos 5 Melhores Filmes Estrangeiros
2018: Cahiers du Cinema: Nomeado para Melhor filme (4º lugar)
2019: IndieLisboa: Nomeado para Prémio Silvestre Melhor Longa-metragem
Documentário - US, 2018, M/12, 130 min. V. O. em Inglês/Legendado em Português
Realização e Argumento: Michael Moore
Fotografia: Luke Geissbuhler, Jayme Roy
Com: Michael Moore, David Hogg
Michael Moore, the documentary filmmaker who won an Oscar for Bowling for Columbine and the Palme d'Or for Fahrenheit 9/11, once again portrays the socio-cultural reality of the United States and the political moment the country is experiencing at the moment.
The title Fahrenheit 11/9 refers to his acclaimed documentary Fahrenheit 9/11 by the date on which Donald Trump was declared president-elect on 9th November 2016. Michael Moore portrays the 2016 presidential election and Trump's first two years in office trying to answer the two most important questions of the Trump era: "How the hell did we get here?" and "How do we get out?".
Moore hopes that the facts shown in his documentary will be so devastating that the film will contribute to undermine the credibility that Trump has among his followers.
2018: Writers Guild Awards (WGA): Nomeado Melhor Argumento de Documentário
2018: Prémios Razzie - Pior Actor (Trump)
Drama - Fr/IL, 2019, M/14, 123 min. V. O. em Francês, Inglês e Hebraico/Legendado em Português/English Subtitles
Realização: Nadav Lapid
Argumento: Nadav Lapid, Haim Lapid
Fotografia: Shai Goldman
Com: Tom Mercier, Quentin Dolmaire, Louise Chevillotte
Israeli co-writer/director Nadav Lapid's unusual migration drama follows Yoav (Tom Mercier), a young Israeli man who is determined to erase his national identity and become French. With the help of a Franco-Israeli dictionary, he resolves to stop speaking Hebrew, put his troubled past behind him and ace his upcoming naturalisation test.
Lapid presents variants of embattled Israeli identity, continuing the thematic investigation conducted in his first two features, Policeman and The Kindergarten Teacher. By setting Synonyms outside of Israel, Lapid introduces an explicit international dimension for the first time. Yoav imagines France as an utopia, whose core egalitarian values – liberté, égalité, fraternité – and strict separation of church and state are the opposite of Israel’s
Lapid continues to exhibit a singular blend of intensity and absurdity, as well as a distinct attention to cinematic craft. Working once again with cinematographer Shai Goldman, he covers entire scenes in lengthy medium close-ups that serve to heighten the constant sense of claustrophobia, pushing the characters (and the viewer) to the breaking point
2019: Berlin International Film Festival: Urso de Ouro - Melhor Filme, Prémio FRIPESCI
2019: Sydney Film Festival: Nomeado Melhor Filme
Roberto Rossellini considered it his most original film. La macchina ammazzacativi has recently been rediscovered, following its restoration. Rossellini takes neo-realism or realism as a starting point, only to find a path closer to a fable, based on a text by Eduardo De Filippo. Rossellini gives way to his fantasy, while maintaining the improvisation regarding the script, the documentary-style shooting of real scenes stripped of cinematic artifice and the genuine mix of professional actors and amateurs that characterizes his films.
A modest photographer from a small coastal town meets a strange character – who introduces himself as Saint Andrew, and bestows upon him the gift of petrifying any person whose picture he takes. Celestino, for that is the photographer’s name, thus establishes himself as a sort of vigilante who decides what is good and what is evil at will. But Celestino loses control of the camera; now it dominates him.
A fable about the mistrust of the power of the camera (or cinema) to reproduce life.
Drama, Thriller - US, 2017, M/16, 133 min. V.O. em Inglês/Legendado em Português
Realização e Argumento: Paul Schrader
Fotografia: Alexander Dynan
Com: Amanda Seyfried, Ethan Hawke, Cedric the Entertainer, Victoria Hill
Toller (Ethan Hawke) was a military chaplain who, after the death of his son, decides to take over the reins of a small Calvinist church, First Reformed, where almost no one goes and which fulfils a more touristic than religious function. Until Mary appears to ask for help for her husband, a radical ecologist who is going through a deep crisis.
Schrader has always felt a predilection for French filmmaker Robert Bresson. It is not surprising, therefore, that he has returned to one of the principal works of that director, The Diary of a Country Priest. He also has a lot in common with Bergman's Winter Light. An Ozu in the silences, in the brief meditations interspersed during filming. And as it couldn't be less, we have the chaplain Toller, echoed by Travis of Schrader's own argument for Taxi Driver.
With elements of suspense and a realistic formal consistency, First Reformed is full of uncoverings and unexpected changes. A cheerfully counter-current film that deals, among other things, with loneliness, spirituality and the threat of climate change.
2018: Prémios Gotham: Prémio Melhor Argumento, Melhor Actor
2018: Toronto Film Critics Association Awards: Prémio Melhor Actor, Prémio Melhor Argumento Original
2019: Óscar: Nomeado Melhor Argumento Original
Drama - CH/FR, 2018, 84 min. M/14 - V. O. em Francês e Inglês/Legendado em Português/ English Subtitles
Realização e Argumento: Jean-Luc Godard
Fotografia: Fabrice Aragno
Com: Jean-Luc Godard (Narrador), Anne-Marie Miéville (Narrador), Dimitri Basil
The prolific Godard's newest work, The Image Book, is the apex of his cinema of symbolism and collage. There are no actors. At most, we hear Godard's eloquent and introspective voice, now with 88 years old, narrating the film and reflecting on our time, humanity, society and cinema.
For Godard, cinema is the book of images of the last and today's century; the documentation of the history of modernity and contemporaneity. Through The Image Book, Godard invites us to reflect on history, and it builds a journey in an incessant collage of images and sounds that permeate the history of art in its most different forms. Pasting scenes from films, reports, home videos and even drawings, the filmmaker approaches the functions of time and space, using in particular the case of images about the Arab world and how they are perceived by the western world. It’s the work of a filmmaker who’s looking back at his films and the films of his time -- and looking ahead to radical changes to come in the cinema and in the world at large.
2018 : Festival de Cannes: Palma de Ouro Especial
2018: International Cinephile Society Awards: Grande Prémio
Drama - IT/CH/DE/FR, 2018, M/12, 125 min. V. O. em Italiano/Legendado em Português/English Subtitles
Realização e Argumento: Alice Rohrwacher
Fotografia: Helene Louvart
Com: Adriano Tardiolo, Luca Chikovani, Alba Rohrwacher, Sergi López
Alice Rohrwacher, director of Alice in Wonderland (2014), returns with a film that mixes neo-realism, magic and social criticism.
Lazarus, a young peasant of exceptional kindness, lives in La Inviolata, a village that has remained isolated from the world and is controlled by Marquesa Alfonsina de Luna. One summer, he becomes a friend of Tancredi. Between them rises a friendship that makes Lazarus travel in time and takes him to know today's world.
It's Dostoevsky's The Idiot. A wise character who, in this case, not having lost the knowledge of his past life is the only one who knows how to recognize the different types of plants. A wink, no doubt, to Les Glaneurs et la glaneuse by Agnès Varda.
2018: Festival de Cannes: Melhor Argumento (ex aequo)
2018: Prémios do Cinema Europeu: 4 nomeações (incluindo Melhor Filme)
2018: Festival de Sitges: Prémio Especial do Júri, Secção Oficial em Competição
2018: National Board of Review (NBR): Melhor Filme Estrangeiro do Ano
Drama - DE/FR, 2018, M/12, 101 min. V. O. em Alemão e Francês/Legendado em Português/English Subtitles
Realização: Christian Petzold
Argumento: Christian Petzold (Romance: Anna Seghers)
Fotografia: Hans Fromm
Com: Franz Rogowski, Paula Beer, Godehard Giese
This film is loosely based on the eponymous 1944 novel by Anna Seghers. As in the book, the film juxtaposes past, present and future. We follow Georg, a technician for German radio and television and an illegal refugee in France, who is given, by a partner, the mission to deliver two letters to a writer in Paris. Georg discovers that the writer has committed suicide and left an unfinished novel, which brings to mind Walter Benjamin’s tragic death in 1940, also in France. The sinister circumstances lead Georg to impersonate the late writer in order to get a visa and escape to Mexico.
The particular timeless character of the story takes a clear stance towards social and political issues that are still current.
Last year we opened Mostra with Western, a film by Petzold’s fellow student at the “Berlin School”, Valeska Grisebach, which showed another point of view, less metaphoric but equally critical of a Europe and a world that forces people into geographical mobility and marginality, thus encouraging types of relationships that do not develop fluidly.
2018: Festival de Berlim: Selecção Oficial de longa-metragens em competição
2018: BAFICI: Selecção Oficial (Fora de Concurso)
2018: Prémios do Cinema Alemão: Nomeada Melhor Filme, Melhor Som
Biografia, Música, Romance - RUS, 2018, M/12, 126 min. V. O. em Russo/Legendado em Português/English Subtitles
Realização: Kirill Serebrennikov
Argumento: Mikhail Idov, Lili Idova, Iván Kapitonov, Kirill Serebrennikov
Fotografia: Vladislav Opelyants
Com: Teo Yoo, Irina Starshenbaum, Roman Bilyk
Avant-garde Russian filmmaker Kirill Serebrennikov (The Student) returns to the big-screen with a tribute to the early years of Russian rock. Leto puts us in the underground rock scene, in Leningrad, during the 1980's, setting itself in a climate where change is asked but also felt.
A confirmed rock star, Mike (Roman Bilyk), struggles to promote rock music in the declining Soviet Union, when another musician, Viktor Tsoi (Tee Yoo), arises as a new promising talent. Then, a love triangle emerges around these two characters and Mike's wife, Natasha (Irina Starshenbaum). Together with friends, they will change the trajectory of rock n'roll music in the Soviet Union.
At heart, this is a story of musicians who are dealing with several layers of frustration — cultural, artistic, personal — but manage to break through, one way or another.
Serebrennikov doesn’t go full glam with the film,. For the most part, Leto is shot in lustrous black and white that can seem gritty at times but more often turns the film into a rock ‘n’ roll reverie, working as a more universal story of striving and rock and roll dreams.
2018: Festival de Cannes: Melhor Compositor; Nomeado Palma de Ouro
2019: Russian Guild of Film Critics: Melhor Realizador, Melhor Compositor
2019: Nika Awards: Melhor Realizador, Descoberta do Ano (Roman Bilyk)
Crime, Drama - JP, 2018, M/14, 120min. V. O. em Japonês/Legendado em Português/English Subtitles
Realização e Argumento: Hirokazu Koreeda
Fotografia: Ryuto Kondô
Com: Lily Franky, Sakura Andô, Kirin Kiki
Winner of the “Palme d'Or” at the 2018 Cannes Festival, Shoplifters, by Hirokazu Koreeda, presents us with a marginalised family that lives on the fringes of the rest of Japanese society. Shoplifters is a brilliant and audacious film, intense and surprising, one of the best in Koreeda. Much due to the brilliant performances of the cast, the result is a gratifying and deeply moving drama, reliving themes from previous films such as Nobody Knows (2004) and Like Father Like Son (2013).
Despite all its kindness and calmness, Shoplifters has a devastatingly clear view of modern Japan. Usually, Japanese cinema shows us two possible societies. One is quite advanced, where people live comfortably taking advantage of technology and capitalism. The other portrays the world of organized crime, where no one seems to dedicate himself to hunger crimes. For this reason, Shoplifters surprises by showing naturally the shortages of a working class that hardly earns what it needs to survive, without having to romanticize poverty or delinquency.
The slow revelations, the natural interactions and the prudent spacing between shock and surprise are proof that this master filmmaker is in perfect harmony with his designs and his art.
2018: Festival de Cannes: Palma de Ouro
Drama - PT, 2018, M/12, 136 min. V. O. em Português e Alemão/English Subtitles
Realização e Argumento: Rita Azevedo Gomes
Adaptação e Diálogos: Rita Azevedo Gomes, Agustina Bessa-Luís (Conto: Robert Musil)
Fotografia: Acácio de Almeida
Com: Clara Riedenstein, Marcello Urgeghe, Rita Durão, Pierre Léon
Rita Azevedo Gomes, together with the famous writer Agustina Bessa-Luís, adapts the second of three short stories that Robert Musil wrote in the book Three Women (1924). This story follows the days of a noble portuguese woman (Clara Riedenstein) who, after marrying Baron Von Ketten (Marcello Urgeghe), remains in the castle waiting for her husband until the end of the war against the bishop of Trento.
From Musil's story comes the inspiration, the atmosphere of the film, but the focus, in the film, is placed on the stagnant life of the noble portuguese woman. The beauty of still time; paintings such as still lifes and Flemish paintings. However, and not because it's stopped, but because it's waiting, the battle of the portuguese can be much more devastating than the war of Baron Von Ketten.
2018: Festival Mar del Plata: Selecção Oficial
2019: Festival de Berlim: Selecção Oficial - Forum
2019: Festival Internacional de Cinema de Las Palmas de Gran Canária: Prémio "Lady Harimaguada" de Ouro