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Juntem-se a nós enquanto discutimos “Pulse” de Kiyoshi Kurosawa, um dos filmes de terror mais marcantes deste século. Achámos impressionante como a duração dos planos e o movimento da câmara são utilizados de forma genial para exacerbar o medo, dando ao filme um ambiente constantemente desconfortável.
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Today we’re joined by the talented cinematographer Jarin Blaschke to talk about his work. We mainly focus on his films with Robert Eggers, where we learn about what brought them together and how Jarin approaches each film. Having recently wrapped the shoot on the upcoming “Nosferatu”, Jarin also reflects a bit on that experience.
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We surf our way through Kathryn Bigelow’s “Point Break”, a well built action bromance. We argue whether Keanu Reeves’ performance is good or not, and we also discuss why some of the plotting doesn’t always work for us.
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Join us as we discuss John Woo’s “A Better Tomorrow”, probably the most influential of the heroic bloodshed films. Although its melodramatic ambitions didn’t always work for us, we were still impressed by Woo’s images and Chow Yun-Fat’s emotionality and coolness.
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Voltamos a nos encontrar com Steven Spielberg desta vez com “Encontros Imediatos do Terceiro Grau”. Achamos o terceiro acto excepcional, mas no seu todo o filme não nos conseguiu convencer totalmente.
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Hoje discutimos “No” de Pablo Larrain, um filme sobre o Plebiscito nacional do Chile de 1988. Apesar de algumas fraquezas emocionais e narrativas, o momento histórico curioso e o estilo visual singular tornam o filme muito interessante.
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Get your pets next to you and join us as we discuss “Wendy and Lucy”, a great Kelly Reichardt film. Mostly quiet and slow paced, we are impressed with how engaging the film can be with its minimalist approach to narrative and emotional resonance, delivering a heart wrenching ending without feeling manipulative.
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We take a look at the Eisenstein’s “Ivan the Terrible”, part 1 and 2. As is expected from Sergei, the film features an intense editing as well as an intentional theatricality, seen in the way he frames the characters but also in their performances. Although it takes some adjusting to the film’s style, both parts are a fascinating look into Eisenstein’s creativity even when operating within the bounds of a more narratively straightforward film.
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