Dia marcado por chuva torrencial. Uma intempérie que permitiu a chegada de estranhos "convidados" à Croisette...
. VOUS N'AVEZ ENCORE RIEN VU, de Alain Resnais (Em Competição)
«Foi uma ideia que começou a formar-se quase sub-repticiamente na sala de montagem», Alain Resnais sobre o título do filme, durante a conferência de imprensa de VOUS N'AVEZ ENCORE RIEN VU.
«Artfully edited to accentuate the redundant dialogue, VOUS N'AVEZ ENCORE RIEN VU develops a rhythmic echo effect that lasts most of the movie as Resnais destroys the fourth wall and builds it up again several times over», Eric Kohn in indieWIRE
«A tribute to the director's love of theater. More than that, it presents his notion that film and theater are one and the same», Sasha Stone in Awards Daily.
«Despite its moments of charm and caprice, the film is prolix, inert, indulgent and often just plain dull», Peter Bradshaw in The Guardian.
. LIKE SOMEONE IN LOVE, de Abbas Kiarostami (Em Competição)
«O filme não tem princípio nem fim. Tal e qual como a vida é.», Abbas Kiarostami.
«The importance of perception cannot be understated here, since the film often buries its cutting ideology beneath a measured narrative pace interspersed with hypnotic silences», Glenn Heath Jr. in indieWIRE.
«Kiarostami still manages to pull the "slow cinema" rug out from under us by literary ending things with a bang», Jordan Mintzer in The Hollywood Reporter.
«Beautifully shot and acted, but the curtain comes crashing down too abruptly», Peter Bradshaw in The Guardian.
. DA-REUN NA-RA-E-SUH / IN ANOTHER COUNTRY, de Hong Sangsoo (Em Competição)
«Os filmes de Hong Sangsoo são dos mais elegantes que conheço», Isabelle Huppert sobre a sua experiência de trabalhar com o cineasta sul-coreano.
«Looks very much like something written on a napkin and shot in the one afternoon that Huppert could come to South Korea. Slight, diverting, forgettable, Peter Bradshaw in The Guardian.
. AI TO MAKOTO / FOR LOVE'S SAKE, de Takashi Miike (Fora de Competição)
«A greatly rewarding, supremely intelligent and undeniably gripping romantic thriller. Plus, it has a surprising amount of laughs along the way and a few musical moments which keep things feeling fresh and unexpected», Chris Haydon in Filmoria.
. ELEFANTE BLANCO, de Pablo Trapero (Un Certain Regard)
«For all the competence and strength of Trapero's direction, the film is not as powerful as it might have been», Peter Bradshaw in The Guardian.
[Fotos: Site oficial do Festival e Getty Images.]
2 comentários:
ahaha o caracol! xP
:*
Cannes é mágico! :D
:*
Enviar um comentário