No dia em que Veneza teve a oportunidade de ver a versão restaurada de AS PORTAS DO CÉU (1980), a magnus opus de Michael Cimino cuja ambição quase faliu a United Artists, foram exibidos alguns dos títulos em competição menos conhecidos mas, artisticamente, mais "agitadores".
. PARADIES: GLAUBE, de Ulrich Seidl (Selecção Oficial)
«The second part of an interconnected trilogy, this portrait of a middle-aged femme missionary is a bit more accessible than its predecessor, if any film that features masturbation with a crucifix could be called accessible.»
Leslie Felperin, in Variety.
«Seidl almost entirely uses languid, symmetrical, static tableaus of shots, (...) and it’s the kind of stark, European feel that could well alienate some.»
Oliver Lyttelton, in indieWIRE.
. AT ANY PRICE, de Ramin Bahrani (Selecção Oficial)
«Out of nowhere, it's heading to violence, crime, guilt. But Bahrani doesn't seem to know how to handle these darker themes and finally, evasively, the movie behaves as if it hasn't happened.»
Peter Bradshaw, in The Guardian.
«An engrossingly serious-minded heartland drama, rich in moral ambiguity, that examines the challenging relationship of fathers and sons in the difficult terrain of modern commercial farming.»
David Rooney, in The Hollywood Reporter.
. WADJDA, de Haifaa Al Mansour (Orizzonti)
«It tells the story of this ten-year-old schoolgirl, and many like her, and it is the best thing I have seen at this year’s Venice International Film Festival so far.»
Robbie Collin, in The Telegraph.
. BAD 25, de Spike Lee (Fora de Competição)
«In his warm and affectionate study of Michael Jackson's Bad, Spike Lee displays an exuberant reverence for the King of Pop.»
Peter Bradshaw, in The Guardian.
«Even those of us who developed a Michael Jackson allergy during the saturation attention that followed his death will find rich rewards in Spike Lee's terrific documentary tribute.»
David Rooney, in The Hollywood Reporter.
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[Fotos: AFP, CBS News e The Guardian.]
