filmesfodasticos_by_jorgemarin

The Platform is a violent and very obvious parable about the capitalist system. However, the way it is presented is more frightening as we try to convince ourselves of human kindness. And even when we expect the worst, what comes next succeeds in overcoming what has already been seen, in rawness and despair.

The minimalist set design resembles a theater stage. Most of the scenes take place in a structure called The Hole, where cells for two people have a large central opening through which a platform with a table with food for the whole day descends daily.

At level zero, there is a kitchen where a banquet is prepared daily with sophisticated foods, delicacies, desserts and drinks. This feast goes down intact to level 1 and then successively, in brief stops, to the lower levels. If each pair consumes a small portion of what is served, it is possible that there will be food for everyone. Of course, that never happens.

Selfish, not only do the occupants of the upper cells eagerly devour more than they can handle digesting, but they smear the remains of food they cannot eat. Some justify their actions by remembering that, after a month, a shuffle occurs and they can be transferred to cells below.

The movie starts with Goreng (Ivan Massagué) waking up at level 48 alongside the old Trimagasi (Zorion Eguileor). He brings the only object to which everyone is entitled: the book Don Quixote e by Miguel de Cervantes. His cellmate has a knife that sharpens itself.

Goreng's odyssey literally has many ups and downs, until he meets Baharat (Emilio Buale), a black man who carries a rope with which he intends to reach level zero, without realizing that, for that, he will need the help of people from above.

Together, they intend to send a message to the Administration that, as said by a sage, "has no conscience" of what happens at the lower levels. Little by little, the two paladins will discover that practicing good, altruism and social justice is a far more difficult and inglorious task than they imagined.

Portrait of a Lady on Fire includes itself in that category of films that go beyond the script and acting and is consolidated as a work of art. Clair Mathon's exquisite cinematography anticipates scenes through sketches on paper and canvas textures.

Anyone who is in a hurry to draw conclusions about the plot should be attentive to the words of Marianne (Noémie Merlant) to her students in a portrait painting class: "Take time to look at me." A student brings to the ambiance a screen that was in stock: it is the story we are going to watch.

Sometime in the 18th century, Marianne crosses a bay in a boat driven by rowers towards the coast of Brittany. Her materials fall into the sea, the men do not move, and she jumps into the water to retrieve them. She arrives at her destination, wholly soaked and tired.

The artist's mission is, in one week, to paint a portrait of Héloïse (Adèle Haenel), the second daughter of a wealthy merchant. The painting must be sent to the appreciation of a suitor in Milan who may if he likes, marry the girl. Héloïse's older sister does not seem to have agreed to this fate and chose to kill herself.

The younger sister's strategy is different: she refuses to pose for the portrait. Therefore, Marianne should do the painting from memory, presenting herself as a chaperone, assisted by the maid Sophie (Luàna Bajrami).

The two young women start walking together and exchanging experiences. At the end of the week, Marianne reveals that she is a painter and shows the painting to Héloïse, who rejects for considering it lifeless. The painter feels extremely frustrated and ends up burning the painting and asking for another week to complete the work.

What follows is a love story. Marianne explores all the intimacy of Héloïse, and she surrenders with calm pleasure. There is no space for male conventions. Lovers know that they cannot change their destinies, but they discover that there is room for desire. And for art.

Carnal Knowledge is rightly considered Mike Nichols' best work. It can be said that it is a chronicle that sensitively reflects the patterns of sexuality, focusing on the feelings and desires that led to the so-called sexual revolution of the 60s.

At the beginning of the movie, two friends, Jonathan (Jack Nicholson) and Sandy (Art Garfunkel), argue in the dark to the Moonlight Serenade arrangements. They talk about loving and being loved and about the type of women they would like to have by their side: sexy without being a prostitute, intelligent, understanding, tall and with big tits.

The inseparable friends go to a college mixer, a closed party where boys and girls met at American campuses in the 1940s. There they discover what can be the "dream woman" of both: Susan (Candice Bergen), who is "given" by Jonathan to Sandy. The latter, however, fails to take the initiative with the girl.

Susan starts the conversation with Sandy, and they are soon dating. Although shy, the boy tries to advance in caresses and, when the girl agrees with some advances, he tells everything to his friend Jonathan, including that Susan finds him sexy. It's the password for him to make an appointment with his friend's girlfriend.

Susan meets Jonathan, the two soon get involved and have sex. As usual, Jonathan runs to tell his friend about his first time (of course, he doesn't reveal his partner's name). This fact makes Sandy obsessed with the idea of having sex, and Susan, reluctantly, gives in to the boy's wishes.

Now it's Jonathan, in love with Susan, who despairs because he wants Susan to reveal to Sandy that she was having an affair with him. She doesn't want to hurt her boyfriend's feelings, doesn't tell anything, and forbids Jonathan to do so. They break up, and Susan and Sandy end up getting married.

Jules Feiffer's screenplay is purposefully economical and polarized as if to characterize the childlike way in which the two friends treat women. After this prologue, the story follows the experiences of Jonathan and Sandy for about two decades, showing their disappointments, separations, and insecurities.