It is a feature film so unexpected despite the story that is always the same.
It is a film about thieves, second category criminals, Portuguese rascals that strangely speak English with an American accent. What can derive from this inevitability of fate? The theft of a Van Gogh lost somewhere in the Alentejo and as it turns out every things goes, very, hugely wrong. Before these temporary setbacks, our anti-heroes still have time to engage in another set of problems that involves skirts ... of course. And debts. And more bad guys. All mixed up what do we have? A film written and directed by a Portuguese, played by many others, a handful of Spanish actors and almost all speak American. Strange, is not it? Well, all I can say is that it makes sense, Chico Silva and Fuentes are sent back by the Yankees after some unsuccessful adventures in the land of Uncle Sam and that same reason does not prevent them from continuing their life devoted to crime on Portuguese ground. What did I enjoy the most in this movie? Ivo Canelas which is a great actor in any format, Enrique Arce that makes a wonderful muscled partner and a kind of moral conscience of his friend and a wonderful and funny Flora Martinez. It's a comedy / crime / thriller, three in one, imagine! It is above all a fun feature film without great pretensions, which enters in cruising speed, when too many people are aware of the existence of a Van Gogh and consequently all covet such a millionaire canvas. Worth seeing only to hear the perfect American accent of Canelas. Good movie.
It is one of the works of the controversial filmmaker who won the grand prize of critics in the Venice film festival.
Joao Cesar Monteiro had a film career unique in our country. Always doing whatever he wanted, no questions asked. He was considered a genius and as such strangely had access to all kinds of public funding for his projects in detriment of other Portuguese filmmakers. A public-private partnership that ended the best possible way possible with the famous "Snow White" which aroused so much controversy and embarrassed the Ministry of Culture. It was well done! You do not ask a madman just out of an asylum to do one more cinematic torture. To the more enlightened of the world (if you must know), sometimes we must give them time, space and serenity to come out with something more constructive and not that was ever the case of João César Monteiro. Quite the contrary. That said; let's talk about one of the works of the late filmmaker, the second in a trilogy, "god's comedy," who I do not truly appreciate. Although, having seen this very long film with many reservations, this work, in particular, always causes me a certain uneasiness that I have to admit it. Putting that aspect aside, Monteiro is without a doubt, the most conceptualist of Portuguese filmmakers. Define this cinematography is a thankless task, to better understand him I quote in order to avoid potential misunderstandings, "remains for me to recognize the moral solitude of a cinematography practice carved in a double refusal to be a kind of rental car of the exploiting class and worst, to exchange this profound change for any demagogic neo-populism form, transporting and selling the miserable illusion of serving, thru an abusive proxy, interests that are not mine." Got it? Returning to the film, this one in particular has an interesting premise, a man, John of God, collects women's pubic hair that he keeps in a notebook called the book of thoughts. The process of "harvest" involves a cow's milk bath of the unsuspecting victims, employees of the same ice cream shop where he works called "Ice Cream Paradise" (very appropriate name), that in the end he strains. But them comes a day when something goes wrong and one of these encounters will be very disastrous for his insignificant existence. I say no more see it with your own eyes. Good movie!
It's a film of João Pedro Rodrigues with Fernando Santos in the main role.
"To die like a man" is a curious film. Striking. At the very least. Is not only an approach to the travesty world, but has almost an operatic context. It's a story on the edge. Tragic. Many people associate this kind of melodrama to the cinema of Almodóvar; curiously the script of this film is nothing like the Spanish director's stile. It is a kind of cinema that goes beyond the sparkles and sequins, shows life behind the scenes. The real stories. It is a universe in decay embodied by Deborah Cristal, an aging character, overcome by time and by competition from younger and muscular transvestites. It's the final stretch of a hallucinatory journey in the company of his young addict lover who he cherishes almost as a son. It is also a portrait of the nightlife of Lisbon in the eighties, which burned the streets with its large and colorful human diversity. One of the great advantages of this feature film are the dialogues, there is a touching scene, I believe in the cold greenhouse, where Tonia and a friend discuss the advantages or not finally becoming a woman with a full body and his inner struggler about this irreversible decision through a surgery that will put an end to his residual masculinity. It's like he says in the movie, "not a man and a woman that will never be" The end of this film is amazing. Deborah Crystal assumes his real identity and ends the cycle of life as a man leaving behind his former identity as the queen of the night. The final scene is very beautiful. I note, finally the work of Fernando Santos who is not professional actor but grabs this character he knows too well, since he also acts as a transvestite in the Lisbon nightlife. Good movie!
It is a feature film produced by Paulo Branco and full of the most talented actresses of the national scene.
It's a movie construed solely and exclusively by women for the rest of the world. It is not a feminine vision of how to govern a country, but almost. Well, maybe they are more efficient and succefull in their sane madness, that successive elected governments of our poor country. Forward. It's a satire, a farce in which a woman, played by the always magnificent Alexandra Lencastre, firmly believes that she is the U.S. president. Yes, who knew! Maybe it's much easier to govern America than a country planted by the sea. It's true. Oil, of course it is always welcome. The rest of the cast, exclusively female help this phony in its intention to conquer China and to organize an event without parallel in the world. I do not highlight the work of any of the actresses, because they're all up to the challenge of John Botelho. It's a fun movie, with little artistic pretensions, or rather, has aspirations, to show the national female acting talent. It is this aspect that I intend to highlight in particular. The film "breathes" its actresses, their interpretation of the characters. It has a wonderful scenario and a wardrobe worthy of a world leader, for no Hilary Clinton to disdain. Only a woman would notice this aspect, but maybe the movie was after all thought for ladies like me. And let me add, I liked! Good movie!
Nuno Santos is a young promise of the Portuguese cinema, which has already made three short films of excellent quality.
I love movies which is a fact. I try to right about the best at the national level, this is another irrefutable fact. And as no two is without a three, I like to counter the idea that Portuguese films are boring, the third fact. So here goes one more text. This time I will talk about a young filmmaker, Nuno Rocha, who has proved to be a serious talent in Portuguese cinema. So far this young director has succeeded in producing only small short films that show a great narrative ability with a very refined sense of humor. I speak of the movie "3X3" without need, or resort to dialogue, magnificently staged the confrontation between two characters. It's the kind of film that takes us to a ride thru the past to the silent films that, in a non-verbal language emphasized the great moments in a very dramatic and meaningful interpretation of the narrative with their very physical actors. This is one of those cases. At a time when movies without sound are back in the spotlight, this movie without major quirks includes us in the story of two men with completely different personalities who decide to meet up. It's hilarious! The other, who I also liked a lot, was a challenge arises by LG, the brand, entitled "Life is good." The interpretation of this theme by Nuno Santos is also an excellent film performance. No recourse once again to any written script which incidentally is expendable. The narrative glides smoothly in its apparent simplicity. The reasons that lead the character to the streets just are superfluous to this thrilling story and very well interpreted by the actors. As to the project "Vicky and Sam" I did not have the opportunity to see it in full, and I regret that, but maybe next time. But I leave the site of this young filmmaker at the end of the text so you can evaluate for yourselves. Good movie!
An anonymous human tragedy that parades through the streets of Lisbon.
Alice disappeared. She was never seen again. Her father, Mario embarks on a daily insane quest, obsessively covering the streets of Lisbon, constantly scrutinizing images from surveillance cameras that might caught a glimpse of his lost daughter. However, his life and his wife, Luisa, is a suspended limbo from that day on... This film of Marco Martins is a black poem about the suffering of a father and a mother after the disappearance of their child. It is one of the great Portuguese movies for its human dimension, which is reflected in a script based on the two characters played by Nuno Lopes and Beatriz Batarda. Mario and Luisa respectively. The performance of both actors is excellent, especially him, who we follow thru the streets and alleys of the city. His palpable contained suffering holds the spectators that watch this magnificent composition of Nuno Lopes. The script written by Marco Martins is wonderful. No lame speeches. Another, forte of this film is the disturbing soundtrack of Bernardo Sassetti that perfectly captured and interpreted this constant search translated in music, an almost insane father in search for a new sign, a new opportunity to remake the moment that changed his life forever. At a time when the Portuguese cinema enlists more international prizes, as is the case of this film, it is worth always see or review this Alice.
It's an amazing movie and a message that will not leave you indifferent.
It is one of my favorite films of Luis Filipe Rocha, in fact I take that back what I just wrote and correct, is my favorite film of this filmmaker. On other margin is the type of cinema exercise that fascinates me and excites to the marrow. Reminds me why I took so fond of the seventh art, the telling of a story in a simply way, without complex plots, great scenery and not very dense texts. Is the type of film whose focus lies in the characters, their weaknesses as human beings, their idiosyncrasies and their emotions. It is the most difficult of all arts forms overcome such feelings without falling in the field of lame. I like it ... no, do not rewrite again sorry, I have a passion for this script that describes the relationship established between an uncle, with a dark past, and a nephew who just see someone who he can talk to, vent and create a complicity so deep that eventually will indelibly affect both of their lives. Superb. The cast is luxurious. Benefits from Filipe Duarte, Maria D 'Aires and Tomas de Almeida performances and lays on the ground all the fallacies about the poor quality of Portuguese cinema. It is understood once and for all that is pure lies. This film alone is proof of the contrary. The scenario is another asset to this story that I will not disclosure, sorry! The beautiful town of Amarante, in the north of Portugal, is more than perfect to illustrate how distances can be erased and how the margins of life may be shortened. I advise you strongly to see it and challenge anyone to say otherwise! Good movie.
It is the first project of a young Portuguese filmmaker, Leonardo Antonio. A name to be remembered.
It's a small film with a very unusual component of special effects, which I think are of great quality. This project of Leonardo Antonio is too good to be true, has yet another advantage, a script that is excellent for a short film. There are no excesses or deficiencies in the text; it's obvious by the theme of the movie dialogue. The characters are well structured and the group of actors is like the icing on a cake, everything is perfect, even the scenery and costumes. I liked the idea, the concept of a world on the brink of destruction due to lack of water. Again it is a little science fiction film, which could turn into a great feature film. It will gain a huge consistency. It reminds me a lot of one of the films of Steven Spielberg's "AI Artificial Intelligence", well this is more an adult point of view, but no less dramatic. This is the first work of this promising young filmmaker and I hope that despite the problems of Portuguese cinema, he becomes a great screenwriter and director of many bold projects, much to my liking. A true Portuguese young Spielberg. But do not stand for what I just said, look through the link that is at the end of this text and it has a plus is subtitled in English. Enjoy!
An innovative record of the dark past of a political system called the new state.
What can a photograph of a face reveal about a political system? What can an image taken for more than 35 years say about our present? These are the questions that Susana de Sousa Dias tries to respond with a remarkable documentary. The idea is original, I would even say innovative because she show a period of Portuguese history, the dictatorship, through photographs of the faces of political prisoners, victims of an oppressive political system that lasted 41 years. It is a register, because it addresses a very contemporary issue, unfortunately, through the testimonies, in voice off, of some of the prisoners of the regime and also focuses on the visible marks on the photographs of that time that should never be repeated again in any country on the world. There is something deeply disturbing in those silent images that cry out anyway. In the eyes of those people we see suffering. We sympathize with the testimony of these simple persons, which suffered the vilest of tortures for the sake of a political conviction, for the sake of bread at the table, for freedom. The filmmaker far beyond answering the questions that arose from the beginning of this movie, has raise even more questions when we are confronted with the reality of those faces. Is it worth it? As Fernando Pessoa said once, all is worth when the soul is not small! Touché!
Norbert Shuchanek and Marcia Gomes de Oliveira organized in May the biggest festival on the world of uranium, in Rio de Janeiro, with Portuguese subtitles. An extensive exhibition of film that addresses the issue of nuclear power and its devastating effects on the life in our planet. Recently, the two activists were in the town of Nisa, Alentejo, to film a documentary about the widespread popular discontent and opposition, given the possibility of resumption of uranium mining. A testimony who they find it important to spread to the world and which has its premiere on the extent of the festival in Lisbon in February.
How this idea of filming a documentary in Portugal about Nisa takes place?
Marcia Gomes de Oliveira: The film is based on the draft of the uranium film festival within the same subject. We visited Nisa and we were aware of a history that there was a place in Portugal that was a fighting against mining. In Brazil, we have developed our work in order to know places in the world with concerns about the nuclear problem. When looking for information about the risks of a disaster, we realize that in the Portuguese speaking world, this information is small or almost nonexistent. What struck us knew that there was a small town in Alentejo with people aware of what is mining, the danger it represents. This led us to Nisa to make the documentary. Above all, it was important because it is a movement in a Portuguese speaking country, because here in Brazil our largest investment is to know where they are trained on this subject.
But how this information came to you? Of Nisa?
MGO: This is very interesting because this was the first question I hear when I got to Nisa. How? It's funny that you invented Brazil and then we found you, is different, and is just details (laughs). We were already researching the topic, we had made a documentary near the nuclear power plant we have here, in Rio de Janeiro. We were organizing all the information and in this location came across a scientific paper, I do not remember if it is a master's thesis or doctoral done by a Brazilian and spoke there in the middle of Nisa, a local mining and prospecting. At first I went looking for a map of Brazil, is it in the Northeast? Then we discovered it was in Portugal, the Alentejo. In Brazil, we have a great affection for your country, because it is the navel, the birth of all the Portuguese culture. Then I said we need to know this place and this story and what is happening. We arrived at Nisa and made a contact, not very detailed, with some of the people of the movement, Maria José Moura, Maria Vieira and others who welcomed us and we saw that it was a place that has changed and more importantly, is a preventive movement. That's what moved us and encouraged to make the film. It is very common to act after, especially the Brazilians using a typical expression "crying after the spilled milk." Nisa thought: we do not want something to happen that will hurt us, not after the disaster occurs. So this is the value of the film. It is to show to Brazil to the world, a preemptive move. That's what I find most exciting and most precious.
The film will be shown in Brazil in the second film festival of uranium?
MGO: The first festival took place in May 201, why? We were in Nisa; we recorded and then saved the material to create a movie. We are now editing the images. We will not debut in Brazil. We show it on Lisbon in February, will actually be displayed in Portugal before the second edition of the festival in Rio de Janeiro. In Brazil, uranium shows the movies and then we have an extension of the festival in various cities. In December there was an event in Porto and in February the films shown were from the first edition. But let us take the opportunity to premiere the documentary, before the second festival in Brazil, because as we are the organizers, the film does not enter into our competition.
Tell me a little bit now about the festival, where comes this idea of creating a festival on uranium?
MGO: It's interesting, because it happens before the disaster Fukujima. In 2006 Norbert Shuchanek was in an international meeting on indigenous peoples affected by uranium mining, or radioactive deposits. There is already a worldwide organization that brings people together because of nuclear power. In that event, he saw a few movies and brought them and then he had already with this idea. When I saw them and was a determinant, the film of a nurse in Chernobyl with the tears streaming down her face as she showed radioactivity in the body of children and it was recently, and she said this cannot happen ever again, anywhere in the world. When I saw it, I said: everyone has to see it and be touched, not to be repeat ever. It was a Russian film, folded in English, but not enough for us Portuguese. I am a professor of sociology, working with adolescents, working with the future engineer, the future technicians and these people do not receive this information, just walk behind a job that pays good wages. What will they do, it does not matter. That was in 2006. We needed to show these films, because a book or a lecture is not as effective as the image in the world today. This effectively reaches teenagers, adults and senior citizen. The film has an impact of the audiovisual media of the moment. The work is to organize these films, people subscribe, send their work, we have a database with all audiovisual information and most important is to be subtitled in Portuguese. The festival has the power to be able to view the best work done on the subject in the world, and they are in Portuguese to be attainable for us. Our work in Nisa, and the extent that we develop with Eloy Antonio was important to take the Lusophony world, the information that is uranium. We intend to popularize the word, because lately we read the newspaper, that talk about uranium mining, uranium market price and people have no idea what it is. All risks will have on our lives. This does not generate popular movement.
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