Fotodude
Entrou em abr. de 2006
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Avaliações2,8 mil
Classificação de Fotodude
Avaliações9
Classificação de Fotodude
This is the third film this year dealing with a child being protected by a monster (after The BFG and Pete's Dragon) and it's probably the one that will leave a bigger impact. My first thought was that I could've easily seen this becoming a hit and probable contender if they'd kept the original October release (as they did here). Now it's going to struggle a bit more but could still surprise. It's really well-made, very carefully put together visually speaking (the two animated sequences are huge highlights). It also has a baity and appealing narrative, but it's not a full-on melodrama, since the monster brings the necessary touches of humor, without feeling out of place. In fact, this was a tricky story to handle as far as tone is concerned, and Bayona definitely delivered in that regard, keeping the mess at bay. In this sense, I don't think he went too far to try to emotionally manipulate the audience as some have claimed: personally I don't have a problem crying at movies and didn't feel the urge to here.
But that's probably also the one big flaw: it's all a lot of style and little substance in my eyes, despite the supposedly devastating and traumatic core. It feels like a story more fit for a short film than a feature film, seeing as there is little character development if you think about it, considering the ending is pretty much spoiled from the beginning, and the relationships grow via small conversations dealing with past events rather than new actions introducing new motivations. In any case, the performances are strong across the board and manage to make you care for these characters. Buzz is set on Felicity Jones, but I thought Sigourney Weaver had almost as much to work with and was almost as memorable. Jones' character is in line with the virtue/criticism mentioned above: you don't know much about her because you get to know her only in small doses, thus preventing her pain from becoming too overwhelming, until two scenes towards the end where she gets to show more. It has a somewhat bigger impact precisely because you haven't gotten tired of seeing her suffer beforehand, but there's also not enough connection to the character. Anyway, I still think she has a shot since the role is baity, the movie is adequate and she as a clear Oscar clip. I hope it's not the only nomination this film gets (it should also contend for a few techs at least), even though I was rather mixed on it in the end.
But that's probably also the one big flaw: it's all a lot of style and little substance in my eyes, despite the supposedly devastating and traumatic core. It feels like a story more fit for a short film than a feature film, seeing as there is little character development if you think about it, considering the ending is pretty much spoiled from the beginning, and the relationships grow via small conversations dealing with past events rather than new actions introducing new motivations. In any case, the performances are strong across the board and manage to make you care for these characters. Buzz is set on Felicity Jones, but I thought Sigourney Weaver had almost as much to work with and was almost as memorable. Jones' character is in line with the virtue/criticism mentioned above: you don't know much about her because you get to know her only in small doses, thus preventing her pain from becoming too overwhelming, until two scenes towards the end where she gets to show more. It has a somewhat bigger impact precisely because you haven't gotten tired of seeing her suffer beforehand, but there's also not enough connection to the character. Anyway, I still think she has a shot since the role is baity, the movie is adequate and she as a clear Oscar clip. I hope it's not the only nomination this film gets (it should also contend for a few techs at least), even though I was rather mixed on it in the end.
There was quite a bit of surprise when Cannes spokespeople Thierry Frémaux and Pierre Lescure announced that one of the films competing in the official selection last year was László Nemes' debut feature Son of Saul. But the surprise was even bigger when it screened to an overwhelmingly positive response, eventually landing both the FIPRESCI Prize and the Grand Prize of the Jury, before successfully competing in other festivals and garnering other awards, until its recent nomination for Best Foreign Language Film at the Oscars. Thing is, maybe the surprise wouldn't have been as big if we'd considered for a little longer who we were dealing with. Nemes lacked experience as a director, at least as far as feature films were concerned, but he'd worked as assistant director to Béla Tarr's The Man from London. And the influence of this renowned Hungarian director, famous for his extended tracking shots and depressingly existential themes, is evident in his disciple's first major work. Indeed, the film takes place in Auschwitz, no less, when near the end of World War II the Nazis were trying to eliminate as many Jews as possible, whether they had to suffocate them, burn them, or simply execute them one after another. Some of the Jews themselves were forced to help them carry out this dehumanized task, giving up their own humanity in an attempt to uselessly prolong their insignificant existence. But one of them, the title's main character Saul (newcomer Géza Röhrig in a deeply committed performance), refuses to abandon all morality, and, amidst all this horror, tries to properly bury a young victim who in his eyes has become his own son, hence offering him his one reason to live.
This plot might seem straightforward and even simplistic, but only if you don't look beneath its surface. In fact, Saul goes through a true journey, both physically and psychologically, within the narrow confines of the camp and in little more than a days' time, and everything around him also moves forward towards an absolutely devastating climax. I won't reveal the outcome, but it's important to note that the narrative is structured around a thought-provoking symmetry, one that, also aided by occasional touches of symbolism, helps bring the story to an even higher level of transcendence than what the Holocaust context is already providing. In this sense, one of the great virtues of Nemes and his crew is how they've been able to use a moment in History we already know a lot about, one that's also been filmed on numerous occasions, and yet tell us something new about it, while at the same time paying the utmost respect to those who suffered because of it. And it's the technical aspect of the production that plays a huge part in achieving this goal. Indeed, the technical prowess Nemes and his cameraman put on display here, along with the boom operators and sound designers, make for a tremendously immersive and harrowing experience, portraying the Holocaust probably in the most effective way one could imagine. The long, dynamic tracking shots never feel gratuitous, but are rather demanded by the frenzied actions that take place; whereas the constant whispers, yells and miscellaneous sounds that surround the viewer feel extremely authentic yet also surreal. All in all, Son of Saul combines all the elements that cinema can offer to create a true work of art in the most hostile of conditions, one that should raise intellectual and emotional fervor among its hopefully wide audience.
This plot might seem straightforward and even simplistic, but only if you don't look beneath its surface. In fact, Saul goes through a true journey, both physically and psychologically, within the narrow confines of the camp and in little more than a days' time, and everything around him also moves forward towards an absolutely devastating climax. I won't reveal the outcome, but it's important to note that the narrative is structured around a thought-provoking symmetry, one that, also aided by occasional touches of symbolism, helps bring the story to an even higher level of transcendence than what the Holocaust context is already providing. In this sense, one of the great virtues of Nemes and his crew is how they've been able to use a moment in History we already know a lot about, one that's also been filmed on numerous occasions, and yet tell us something new about it, while at the same time paying the utmost respect to those who suffered because of it. And it's the technical aspect of the production that plays a huge part in achieving this goal. Indeed, the technical prowess Nemes and his cameraman put on display here, along with the boom operators and sound designers, make for a tremendously immersive and harrowing experience, portraying the Holocaust probably in the most effective way one could imagine. The long, dynamic tracking shots never feel gratuitous, but are rather demanded by the frenzied actions that take place; whereas the constant whispers, yells and miscellaneous sounds that surround the viewer feel extremely authentic yet also surreal. All in all, Son of Saul combines all the elements that cinema can offer to create a true work of art in the most hostile of conditions, one that should raise intellectual and emotional fervor among its hopefully wide audience.
The main criticism I've seen towards this film is that it has a detached approach, but I thought it worked wonders here, surprisingly. Thing is, you can handle a story about night life in two ways: by focusing on the frenzy and excitement, that ephemeral state of euphoria non-stop party and excess will do to you, and that's probably what most films of this kind do, and thus have little lasting power beyond the final credits. Or you can go for that other feeling often associated with such activity, which is one of emotional vacuum, of estrangement and low mood, which is more profound and permanent. This is what Løve is going for and succeeds in portraying: the life of someone who wants to be a DJ at all costs, and stick to it throughout the years, while knowing he won't be able to afford living like that. So he often feels unsatisfied and lacking in some kind of deeper personal realization.
On the other hand, those around him do move forward, in one way or another, and so his relationships with all of them reach some kind of closure, making it even more depressing to him that in over a decade he pretty much hasn't gotten anywhere, hasn't really grown up nor learned anything from when he was a teen. An adequately long runtime, encompassing various states of the main character's life and various locations to where his work takes him, also contribute in making his frustrating journey so believable. Technically the film is a marvel, moving so naturally, so organically, from one sequence to the next, from one set piece to another, with a flow that is obviously aided by a powerful and almost constant soundtrack. If you like house music, it's pretty much guaranteed you'll love this film. But it has a lot of other qualities that really make it worth watching. I hope those of you who haven't seen it do soon.
On the other hand, those around him do move forward, in one way or another, and so his relationships with all of them reach some kind of closure, making it even more depressing to him that in over a decade he pretty much hasn't gotten anywhere, hasn't really grown up nor learned anything from when he was a teen. An adequately long runtime, encompassing various states of the main character's life and various locations to where his work takes him, also contribute in making his frustrating journey so believable. Technically the film is a marvel, moving so naturally, so organically, from one sequence to the next, from one set piece to another, with a flow that is obviously aided by a powerful and almost constant soundtrack. If you like house music, it's pretty much guaranteed you'll love this film. But it has a lot of other qualities that really make it worth watching. I hope those of you who haven't seen it do soon.
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