Interesting to have seen Les savates du bon Dieu before this film. Like Brisseau, Reichenbach uses melodrama as the main dramatic force, with a realistic appearance, on which fable and fanciful glimpses appear. Falsa Loura's melodrama is close to the soap opera aesthetic, in the use of popular music and images that are purposely cliché. The final sequence on the farm with Luís Ronaldo is paradigmatic in that sense, an idyllic space that projects an ideal for the protagonist, only to be ripped apart the next morning, when confronted with reality.
A country and province in permanent construction. Like the characters, whose identity is shaped by the oppressive regime in which they live, closed in China's specific culture and distorted by progressive Western influences. Jia Zhangke makes use of red and green in his compositions, combining them with the coldness of the brick walls, where his characters wander, framed and blocked by the imposing walls, alienated by the uncertainty of their individuality.
There is something to be said about the negative side of the legacy left by canonical directors like Bresson or Antonioni in the current panorama of european art house cinema. An empty and innocuous formalism that is often found in film festivals. Despite the inseparability between form and content, many of these directors/films use this formal approach in a cynical and cold way, hoping that the thematic depth will arise from a certain framing or camera movement. At first I…
Converti-me à Religião Shyamaliana há cerca de um mês com a visualização de A Vila e guiado por um nicho de críticos que valorizam a sua obra.
O Luís Miguel Oliveira, crítico do jornal Público que respeito bastante, queixou-se recentemente da falta de autores no cinema de Hollywood (e não só), referindo-se à falta de um Hawks ou um Ford que servisse como guia aos restantes cineastas. Eu acredito que ele existe.
Relembro que o Hitchcock (comparação que me parece…