. COSMOPOLIS, de David Cronenberg (Em Competição)
«Para mim, um rosto que fala é ainda a essência do cinema. E o cinema está nas opções de luz, na escala dos enquadramentos, na intenção dos movimentos da câmara, por isso não há nenhum teatro aqui», David Cronenberg, na conferência de imprensa para COSMOPOLIS.
«You don't go to a Cronenberg movie for comedy, but rather for something exciting, exotic, daring and precise: really, none of those things is present in this agonisingly self-conscious and meagre piece of work», Peter Bradshaw in The Guardian.
«A triumph: it’s both an exceptional adaptation and a remarkable work unto itself», Simon Abrams in indieWIRE
«Disappointingly, the director could not find a way to electrify the energy of the opposition, nor has he found a fluid, quasi-hallucinatory technique for transitioning among the numerous situations and their constantly changing participants», Todd McCarthy in The Hollywood Reporter.
. V TUMANE / IN THE FOG, de Sergei Loznitsa (Em Competição)
«Na verdade, este não é um filme de guerra, mas sim sobre indivíduos que se vêem numa situação muito particular. A guerra dita uma certa atmosfera, um certo estado de espírito. Para mim, os eventos de IN THE FOG poderiam acontecer em qualquer lugar ou tempo», Sergei Loznitsa sobre o conceito do filme.
«An intense, slow-burning and haunting drama», Peter Bradshaw in The Guardian.
«IN THE FOG ends a little clumsily, with the belated appearance of a heavily symbolic mist and a predictable offstage gunshot. But by this point the film has stopped being a specific wartime story and stealthily gear-shifted into a universal meditation on the human condition, with war as an allegory for life, and fog as a metaphor for mankind’s stumbling progress into the unknown», Stephen Dalton in The Hollywood Reporter.
«Despite its classicism, Loznitsa's helming still feels post-millennial in its austerity, particularly given the total absence of music and the slow-breath rhythms of its editing», Leslie Felperin in Variety.
. HEMINGWAY & GELLHORN, de Philip Kaufman (Fora de Competição)
«A dynamic, vivid, well-acted look at two major 20th century writers who shared wars on the battlefront and at home», Todd McCarthy in The Hollywood Reporter.
«An overlong period piece that's earnest and handsome, true, but strangely inert, and perhaps because Ernest Hemingway's larger-than-life persona is so familiar, frequently feels stilted and cliched», Brian Lowry in Variety.
. 11/25 THE DAY MISHIMA CHOSE HIS OWN FATE, de Koji Wakamatsu (Un Certain Regard)
«Wakamatsu’s portrait of the artist as an obsessed, self-fashioned martyr is periodically gripping for the way it develops its concern with legacy», Simon Abrams in indieWIRE.
[Fotos: Site oficial do Festival.]
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