quinta-feira, agosto 30, 2012

Festival de Veneza 2012 — Dia 2



Antes dos destaques deste segundo dia — o qual foi preenchido por outsiders aos grandes prémios —, recapitulemos os momentos principais da cerimónia de abertura da 69ª edição do Festival:



. IZMENA, de Kirill Serebrennikov (Selecção Oficial)



«However, the conclusions drawn in IZMENA are bleak and the characters all seem in one way or another to be going to their self-appointed hells. One is just left wishing they hadn't meandered so much along the way.»
John Bleasdale, in Cine-Vue.

«Strong performances and stylish direction are undermined by some seriously credibility-stretching plot developments in this overwrought, overlong Russian tale of adulterous passions.»
Neil Young, in The Hollywood Reporter.

. SUPERSTAR, de Xavier Giannoli (Selecção Oficial)

Os actores Kad Merad e Cecile De France com o realizador Xavier Giannoli na passadeira vermelha do Palazzo del Cinema

«It's a decent performance by Kad Merad, but the whole film is just so redundant and fundamentally unconvincing.»
Peter Bradshaw, in The Guardian.

«Giannoli keeps SUPERSTAR moving at a fair clip, almost like a paranoid conspiracy thriller, but at some stage the film becomes predictable, the satire all too familiar.»
John Bleasdale, in Cine-Vue.



. TANGO LIBRE, de Frédéric Fonteyne (Orizzonti)

Um divertido Sergi López (à direita) posa com o realizador Frédéric Fonteyne e uma gravidíssima Anne Paulicevich

«The inflamed passions of the tango ignite this soulful, well-acted drama, even if that same extravagant spirit eventually throws the storytelling off course.»
David Rooney, in The Hollywood Reporter.

. THE ICEMAN, de Ariel Vromen (Fora de Competição)

Michael Shannon, Winona Ryder e Ray Liotta posam para os fotógrafos

«Michael Shannon is chilling as America's most notorious hitman, but his cold heart must thaw to be more engaging as drama.»
Peter Bradshaw, in The Guardian.

«There are some good instincts at work in the film from Vroman. It’s never a painful watch, more of a faintly dull, seen-it-all-before one. If nothing else, it’s evidence that these days, being based on a true story isn’t enough to elevate a film in a well-worn genre ahead of the pack.»
Oliver Lyttelton, in indieWIRE.



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[Fotos: CBS News e elPeriódico.]
[Vídeos: canal do Youtube do Festival de Veneza e Collider.com.]

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