terça-feira, setembro 04, 2012

Festival de Veneza 2012 — Dias 6 e 7

Sexto e chuvoso dia de Festival...

... mas, em Veneza, o Cinema é sempre o melhor abrigo.

. OUTRAGE BEYOND, de Takeshi Kitano (Selecção Oficial)

Takeshi Kitano, a distribuir autógrafos, só é antipático nos seus filmes

«The Japanese action aesthete plays it cool and smooth in a picture that exerts a steadily tightening grip, though not until after a first hour of near-impenetrable gangster gab that may leave the uninitiated feeling stranded. »
Justin Chang, in Variety.

«A tough slog at first, Takeshi Kitano's latest yakuza crime spree should come with an explanatory manual, but the cumulative payoff of nasty humor, intrigue and visceral kill thrills is considerable.»
David Rooney, in The Hollywood Reporter.

. APRÈS MAI, de Olivier Assayas (Selecção Oficial)

Assayas, ao centro, com o elenco do seu novo filme

«Olivier Assayas has made a distinctive and nuanced film about the much-chronicled post-1968 years of radical European politics, as well as providing droll insight into his self-discovery as an artist.»
David Rooney, in The Hollywood Reporter.

«The press notes for the film talk of the present generation living in an 'eternal present', with no sense of history or purpose. This could well be the case, but on the evidence of his latest effort, it would appear that Assayas' nostalgia is misplaced - and, more importantly, cinematically uninteresting.»
John Bleasdale, in Cine-Vue.

. DISCONNECT, de Henry Alex Rubin (Fora de Competição)

O compositor Max Richter, Henry Alex Rubin e Lily Cole na sessão de gala

«Sleekly assembled and propelled by some strong performances, Henry-Alex Rubin's drama about the toll of technology on human connection says little that hasn't been said many times before.»
David Rooney, in The Hollywood Reporter.

Sétimo dia de Festival com importante presença portuguesa.

. PIETA, de Kim Ki-Duk (Selecção Oficial)

O realizador Kim Ki-duk com os actores Lee Jung-jin e Jo Min-soo

«As is often the case with Kim’s work, it’s far from an easy watch: repetitive, bruising and grim, set in a scuzzy part of the world, full of even scuzzier people. The filmmaking is unshowy and relatively matter-of-fact, yet the content is almost anything but.»
Oliver Lyttelton, in indieWIRE.

«Though the appreciable ending will be what festival juries remember when the prizes are being handed out — and female lead Cho Min-soo is bound to be a contender at Venice — it’s not an exaggeration to say there’s not a single pleasant moment in the film’s first half, and most Western audiences are going to find this very tough going.»
Deborah Young, in The Hollywood Reporter.

. LINHAS DE WELLINGTON, de Valeria Sarmiento (Selecção Oficial)

Valeria Sarmiento com o elenco feminino de LINHAS DE WELLINGTON

«Sarmiento sometimes risks spinning the film into a memorial special; an overstuffed revue show, pulling in too many directions. For all that, she delivers the tale with a gusto that would have made Ruiz proud.»
Xan Brooks, in The Guardian.

«Somewhat turgid, and hardly exceptional. But it’s also handsome, generally well acted when the performers stick to their first language, and a detailed and smart look at a point in history that’s likely little-known outside of Portugal.»
Oliver Lyttelton, in indieWIRE.


[Fotos: AFP, Reuters e Getty Images.]
[Vídeos: Canal do YouTube do Festival.]

1 comentário:

Inês Moreira Santos disse...

Sempre bom ver portugueses por lá. Pena é as críticas não estarem muito a abonar a favor, ultimamente...

Cumprimentos cinéfilos :*