PedroPires90 Reviews

Challengers (2024)

Unique

[8/10 · 22 April 2024]

What I love about Guadagnino is that he never tries to replicate others or do something that can be very forgettable. Even if it's not always easy to see the similarities between Call Me By Your Name, Suspiria, Bones & All and Challengers, one thing is certain: they all have a very distinctive approach and are unique cinematic products.

The score of this film is incredible, it's like a whole trip and it evens contributes to make us anxious like we are watching a tense thriller. It is a very sexy film even if sometimes it feels a bit trapped to the Hollywood safe sense of disruption.

The trio is amazing and I was the entire time mesmerised by Zendaya, who lives the more complex and nuanced of the three characters. The tennis scenes are very cool and I love many of the artistic choices, especially the creative editing process, not only in terms of the structure but some fantastic montages.

I Think I'm Sick (2023)

Great indie flick

[8/10 · 23 March 2024]

Just a great film. This is why film festivals are important, as it was very likely that I would never watch this otherwise.

It touches on themes (not just suicide!) that are very, very sensitive and does so by always incorporating a very difficult to work with dark humor. It is quite effective in this task, knowing how to blend humor and the dramatic aspect almost always accurately, although it is stronger when it tries to be lighter.

The performances are strong, and everything feels quite genuine, very personal, and stories that we all experienced, saw, or heard among our friends. Excellent soundtrack and always surprising moments that leave us unsure of where the film might go, also because there are certain aspects left open.

There is one aspect that I didn't particularly love. The editing is mostly good, but it's noticeable that the editor is the one who directed and wrote it because there are one or two scenes that could very well be removed, but you can see the care of the person who thought them through. I have particular issues with the final three scenes as all could be strong individually, but all three seem a bit disconnected from each other.

Anyway, this is a fascinating film that made me laugh, cry, and admire some of its mastery, including technical aspects like the cinematography.

Bob Marley: One Love (2024)

Empty, soulless

[4/10 · 23 February 2024]

I'm still shocked about how they managed to do a movie about Bob Marley something so empty, so soulless and that 24 hours later I almost forgot every single thing.

The songs are always a pleasure to listen and the cast was very good. You can see that Ben-Adir really invested a lot on this role and Lashana Lynch is great as usual. But that is far from enough. The script is bad but, surprisingly, not as bad as some of the editing. How can you end a film like this feeling nothing? Particularly surprising if we consider that Marcus Green did a great job with King Richard.

Just watch a documentary.

How to Have Sex (2023)

Raw, relevant, realistic

[8/10 · 3 January 2024]

Even though I struggled a bit with the first act - culturally it is way too distant from my teenage years, British teens are wild, probably the wildest in the world -, this turned out to be something very interesting, relevant and realistic.

Social pressure, peer pressure, cultural pressure are things we all suffer in different ways and this film does it in a very truthful way. The rape situation and the aftermath is done in an a scarily realistic way (for both sides) and I wish this film could be seen by much more people, especially teenagers.

Great acting in general (especially Mia Mckenna-Bruce) and strong directorial debut.

Anatomy of a Fall (2023)

Chilling

[9/10 · 6 November 2023]

If someone had told me that "Anatomie d'une chute" would make me add 50 Cent's "P. I. M. P." to my playlist, I probably wouldn't have known how to react. It was unexpected to see the presence of the theme in a French legal drama, and even more surprising was its prominence in addressing some of the film's central themes. But despite appearances, "Anatomie d'une chute" is anything but a typical dull legal drama.

I admit that your experience with this film may vary depending on your level of engagement with the work, as your experience will be greatly affected by how much this film can draw you into its world, its characters, and their nuances. At its core is a mysterious death.

There are various ways to approach this story. It could have been an investigative thriller in the style of David Fincher, but it's not. Justine Triet knows exactly what she wants to extract from it. She is more interested in showing it through the eyes of the people involved and does an astonishing job in this regard. Rather than the quest for the truth, the script is more concerned with how people react to the bits of information they come across. It also aims to demonstrate the complexity of human relationships and the path that leads to certain decisions in the lives of couples that can never be fully understood by an external audience filled with prejudices and snap judgments. The media attention surrounding the trial that occupies almost the entirety of the last two acts of this film demonstrates that the truth is not always the most important aspect. It also shows that the judgment of a specific moment or action is less significant for the audience than a character judgment that is always waiting to be passed.

The way this is all filmed surprised me greatly. Triet doesn't seek a classical and comfortable approach. The blocking is phenomenal, making us feel almost like intruders. The camera's movements are also unstable, approaching the emotionally unstable characters. It's a mastery that few possess, not because few know how to do it technically, but because few can do it so effectively, eliciting the emotional response desired from the audience. For instance, there's a scene in which a third party speaks about the deceased. The camera first focuses on Daniel (Milo Machado Graner), the son, who is visibly uncomfortable but tries to hide it. Then it shifts to Sandra (Sandra Hüller), and we can see the same discomfort in her as she tries to make eye contact with her son. It moved me and brought tears to my eyes. The foreground here wasn't the dialogue but how it was affecting these people.

What Milo Machado Graner, one of the most impressive performances by a young actor, and especially Sandra Hüller do in this film is sensational. Hüller brings an impressive array of expressive tools that always work according to the moment when they are put into action. When she tries to seduce, when she fights, when she opens up, when she closes off, when she feels invincible, when she feels vulnerable. Her micro-expressions and body language convey everything she has to say, and I must say that I consider this performance among the best I've ever seen. It's spine-chilling.

With this, I'm afraid I might be doing a disservice to the supporting actors, which would be unfair because they all deliver outstanding performances. In addition to the previously mentioned young actor, Swann Arlaud plays the eloquent defense lawyer and friend who becomes increasingly close to Sandra. Antoine Reinartz portrays a powerful prosecutor with a speech as intense as it is well-crafted. Samuel Theis shines in an incredible scene from the past. And speaking of that scene... what an immense kitchen argument, so well-crafted, packed with information, filled with conflicting emotions, repressed feelings, and expertly edited to the point where all you can do is open your mouth in admiration of such a work of art. After all, this film is about several falls, and no scene could better exemplify the most significant fall than that one.

Although this is not the easiest film to watch, demanding a lot from the viewer, especially until the end of the first act, the way everything unfolds, the development of its script, and the paths and destinations of its thematic approach are absolutely fascinating. It is one of the most realistically human films in its approach to unknown facts. It doesn't aim for flashy cinematic spectacle, but it provides plenty to engage your gray matter every time you think about it.

What happens inside each home is truly known only to those who live there. The truths. The half-truths. "Anatomie d'une chute" is a magnificent realistic exercise in the search for a truth that isn't always attainable, forcing everyone else to navigate in an uncertain but necessary zone of conscious decision-making. Sandra Hüller delivers one of the best performances in history. Period. Chilling.

Sister Death (2023)

Good film

[7/10 · 28 October 2023]

Good movie. I consider Veronica to be a superior film, but this is how you make a prequel. Completely different on its approach, with significance for the original story, yet very much its own thing.

Very good performance in the lead role by Aria Bedmar, whom I wasn't familiar with, but who showed a range of nuances in approaching this character. I loved the production design and cinematography, with Paco Plaza once again demonstrating his exceptional camera work, one of the best in the horror genre, and always maintaining impeccable mise en scene. Once again, sound - mixing, score and sountrack - is also a standout in his works. I can't say it was scary or terrifying, but it's a very well-paced story, creepy enough, and with some very interesting setpieces.

The Royal Hotel (2023)

Not the best ending, but good film

[7/10 · 26 October 2023]

I really enjoyed the trip and the way everything unfolded, supported mainly by two things:

• Two great performances in the lead roles (Julia Garner is "even more" perfect) and good supporting performances. Flawed characters with clear unresolved issues, very relatable (especially the leads).

• The tension that the director manages to build up throughout the film, always making us fear and anticipate what's coming. While doing this, there is always an interesting commentary about genre dynamics and friendships.

However, I must say that the final act disappointed me. It was not terrible, but don't think the ending had the expected impact after such a buildup, and it may have lacked some boldness to go further. In fact, the third act could have very well been the end of a second act...

In any case, I've never been one to judge works by unsatisfactory endings because I find it unfair to forget all the great things it did for 90% of its runtime.

Munich (2005)

Masterpiece

[10/10 · 25 October 2023]

My memory fails me if this is my 4th or 5th watch, and I absolutely love everything about this movie. Yes, that includes the sex scene that many criticize. In a situation where most of us only think of joy, excitement, happiness; everything becomes blurred in the mind of our protagonist because pain begets pain, violence begets violence, and where life should be celebrated, he feels utterly powerless because within him, life is confused with death, sadness, violence and tragedy. Nothing could be more shocking, and I never understood the criticisms because it's a scene that has always deeply impacted me.

From start to finish, Spielberg is Spielberg, but also not. He's Spielberg in the unique way he moves the camera, how he puts us at the center of attention, and even adding some unexpectedly comical bits typical of his cinema (the receipts!). He is not like the normal Spielberg when he gives us such a raw, bleak, violent, and, above all, hopeless view of much more than "only" Munich.

With incredible cinematography - damn, all of those mirror shots - and perfect sound, I think the editing isn't mentioned enough when discussing the achievements of this film. It is also the best performance of Bana's career. And when I think of most of these actors, I think of them in this film.

Family is always at the center of this, but remember: both sides, all sides have families and want a place to call home. As for the main political message... many Israelis considered it pro-Palestine. Many Palestinians considered it pro-Israel. Want better proof that it delivers the right message, always in a provocative tone? A masterpiece.

The Childe (2023)

Solid blockbuster

[7/10 · 17 October 2023]

Even when Park Hoon-jung doesn't create an excellent film with deep meaning and emotion, he still manages to entertain and bring something that we'll always remember.

Kim Seon-ho's character is fantastic. At first, we don't know what to expect, and we might even think he's just a side character, but he carries the entire film with his charisma, humor, and somewhat superhuman fight/gun skills. He also steals the show because Kang Tae-ju never manages to do something memorabel mostly due to the script he has in front of him for a character who should have been the main focus of this film, as everything revolves around him.

Apart from this significant issue, the film seems to prioritize the spectacle of its setpieces over any deep construction. I missed the artistic and emotional touch of Hoon-jung that we saw in "Night in Paradise" (probably my favorite of his), but even in terms of intrigue and complexity, it doesn't come close to what he achieved in "New World" or, I would even say, "V. I. P." (although I know that's not a consensus).

Nevertheless, there are excellent scenes that will stay in my memory, such as the executions of the informants or the entire impressive and over-the-top third act. I enjoyed the ending (yes, I'm a fan of plot twists, give me all of them!), the presence of some good feeling amidst it all, and that comical post-credits scene.

Fair Play (2023)

Egos, insecurity, and ambition in a world without Fair Play.

[7/10 · 11 October 2023]

The way Chloe Domont sensitively and thoughtfully constructs this volcano of emotions and escalating behaviours deserves praise, as does the film's editing and the way certain sound effects are used, constantly reminding us that this is a thriller and that the perfect world may be on the brink of crumbling.

There are some narrative choices that left me scratching my head, but even there, I cannot help but applaud the courage to venture down the paths it takes in the third act. The fragility of the male ego and power dynamics are explored in a rather sharp and necessary manner in a thriller that always leaves us questioning if there is any possibility of a happy ending.

The Exorcist: Believer (2023)

Not terrible, but disappointing

[5/10 · 7 October 2023]

The movie's premise is interesting. In fact, it's in the first act that the film shines the most. It has a good opening scene and takes its time to introduce the main characters before things go wrong, a choice reminiscent of the original 1973 film. When the young girls return and begin exhibiting strange behaviours, we are treated to some good and tense scenes, which are practically the only ones capable of creating a heavy and unsettling atmosphere. There is a particularly effective and well-executed scene between Angela and her father Victor in their home bathroom, culminating quite well in another event the following day. Also memorable is Katherine's scene in the church. The problem arises afterwards.

It's never easy to work on the "middle" of a piece. While it's true that we often have the beginning and the conclusion in our heads, it's the journey to get there where we most often lose our way. And that seems to be the case with the script of "The Exorcist: Believer,". Once the families and the community they reside in become aware of these strange behaviours, the script has a lot of difficulty in developing the story from that point until the exorcism, which we already know will mark the final act. Little more is added from the possessed girls' perspective, even though both deliver exemplary performances with what they are given. On the parents' side, Leslie Odom Jr. Continues to stand out as the only one consistently above average, bringing more dimension to his character than anybody else. On the side of the more experienced actors, Ann Dodd and Ellen Burstyn fail to showcase their talents due, once again, to a limited script that forces them into successive series of uninspiring and uninteresting dialogue, making the film's themes too obvious and wrapping the plot into a point of no return.

Here and there, there are some good and interesting scenes, or at least attempts to surprise, such as the encounter between the demon and Chris. However, they are so spaced out between uninspired dialogues that it's difficult for these moments to have the impact they should.

Things improve towards the end. The exorcism doesn't start perfectly, as the chaotic way it was constructed still lingers in our minds, but there's an interesting twist introduced - concerning choices - which is not something often seen in the genre. It's not a bad conclusion; it manages to surprise and shock, but it's not enough to erase the bitter taste of over 50 minutes where the film meandered aimlessly.

With two more chapters confirmed, it will be challenging for "Believer" to excite the audience about what's to come. However, there are still some interesting foundations that could be capitalized upon to deliver a superior product if there's a script that measures up.

"The Exorcist" comeback is not as terrible as some claim, but it is, above all, disappointing. It could never be expected to reach the level of the classic, but it should have met the standards of the strong wave of recent horror cinema. The first act is good, and the final minutes even bring some interesting surprises. The problem lies in the chaotic and unconvincing manner in which it got there, which is the majority of the film's runtime.

No One Will Save You (2023)

Great, great, great... not for people who are always checking their phones though

[8/10 · 4 October 2023]

I love talking about films that really resonate with me, about films that I wish I had come up with the idea for. Oh, how I wish I had seen this in the cinema rather than on a streaming service... Anyway, I believe that the merits of "No One Will Save You" rest on three major pillars:

1 - I've seen several dialogue-free films before. Some have worked quite well (Kim Ki-duk's films come to mind), while others feel like forced gimmicks. Few have been as effective in the "show, don't tell" maxim. Some may consider this script basic, but that's a mistake. It may not be a 100-page script, but it's a perfect and well-crafted script for the concept and medium at hand. For some reason, someone wants to write a film script and not a book, and this is how the story should be imagined, through exciting and highly creative visual storytelling. Besides the way the story is conveyed without ever leaving doubts about what we're seeing and the motivations of each character (including the aliens!), the themes are expertly integrated without the need for exposition dumps that are so prevalent in cinema today. The device never feels like a gimmick, especially when you consider how the main character lives, where silence has always been her word. Despite the lack of dialogue, the film never wastes time, quickly plunging us into action without lengthy introductions, revealing more about its main story and the character's background - and the film's themes - through hints throughout the film, all while maintaining its brisk pace. Nevertheless, I understand those who believe that the backstory and its implications could have been better developed.

2 - The suspense created is at a Hitchcockian level. The basic premises are here: the catalytic event - which is usually a sound -, the search for the unknown, the threats, the confrontation. All done in such a classic and seemingly basic way. For this to work, everything has to come together perfectly, and it does top-notch sound design that considers the impact on the viewer as an integral part of the experience, whether with loud or subtle sounds; a well-incorporated soundtrack that suits the intended atmosphere and the moment in each scene; highly imaginative camera movement that draws us into unexpected angles and views; constant surprises, even when we think this story is nothing more than a mix of what we've seen in "The Twilight Zone," "The X-Files," or "Signs." The special effects - especially the creature design - may be quite simple, perhaps not entirely convincing or terrifying, using many familiar tricks, but this helps to create a charming classic aura. It could easily be a work from the 1980s. And who wouldn't want to go back to the '80s?

3 - The performance of the lead actress, who is in virtually every scene of the film. Kaitlyn Dever is brilliant. I had never recognized her value to this extent before. I was captivated. In a film where almost all other merits would matter little if the lead character were not well portrayed, Dever gives her all with one of the most physically and emotionally rewarding performances I've seen in contemporary cinema. What she is asked to do without words is truly remarkable. It's incredible how everything she thinks, feels or does is conveyed to us without anything being said verbally.

There are additional points to consider for other aspects of "No One Will Save You." Of course, it earns an extra point for delving into one of my favourite themes in horror and science fiction (extraterrestrials and UFOs!). It earns another extra point for having a courageous and risky ending (which I loved) that will divide cinephiles and even more so those who are merely moviegoers. It also deserves another extra point for having the guts to do what many - the smartphone brigade - might consider pathetic and lame (the film is basically the third act of "Signs"!). But it earns most of its extra points for paying homage to classics while never forgetting its originality. While the initial concept - both the choice of being dialogue-free and the alien invasion - strongly resembles the classic episode "The Invaders" (1961) from "The Twilight Zone," there are clear references to various past works, from the aforementioned "Signs" (2002) to "Invasion of the Body Snatchers" (1956 and 1978), "The X-Files" (1993), or even "Gremlins" (1984). This, of course, without neglecting the clear influence of Steven Spielberg's cinema (perhaps that's why I loved it so much!). Nevertheless, "No One Will Save You" is very much its own thing, never losing itself in its array of influences. It takes unexpected paths and uses those influences to pay homage rather than imitate.

Smartphones far away, lights off, and proper screen and sound setup (no laptops), these are basic recommendations for any film, but here they take on an extra dimension. "No One Will Save You" virtually has no dialogue, and it doesn't need it because it's one of the best examples ever of employing the "show, don't tell" principle. Tension is maximised through creative camera movement, incredible sound work, and numerous surprises around every corner. Kaitlyn Dever delivers a fascinating performance in a role that demands a lot from her. The biggest surprise of 2023 so far.

Listen (II) (2020)

Infuriating

[6/10 · 3 October 2023]

A broken system like many British services that are supposed to help but end up harming more than helping. But hey, 'I understand. I know how you are feeling'. So typical.

The film has some issues getting out of the same place and developing the plot. It also doesn't conclude in a very positive way as the ending seems rushed and incomplete, not giving us the emotional impact it aimed to (we don't even see one of the children). Still, the acting is good, especially Lucia Moniz's, which is excellent, and the situation always keeps us engaged with a story that is infuriating but, unfortunately, based on real situations.

El Conde (2023)

Good idea, hot mess

[4/10 · 1 October 2023]

Interesting concept, with good (though sometimes overly thin and obvious) political and social commentary, and great cinematography. However, that's where the positives end.

The film falls short of its potential; the second act is completely stale, and not even the humorously absurd reveal in the third act can rescue it from its tediousness. Very bad as a vampire film, empty as a satire, unable to create any kind of connection with the audience.

Larraín has the American critics on his side - lol they always are when they find a new foreign director, staying with them and only those 2/3 foreign directors forever - but this is a hot mess.

The Glory (2022– )

Very good

[8/10 · 25 September 2023]

A meticulously planned revenge and a very clever series in the way it always compels us to want to watch the next episode right away. The editing is at an excellent level, as well as the handling of the story, which was not easy, given the number of characters it has to explore.

It has a typical issue of K-Dramas, as it could very well have been condensed into 12 episodes, given the amount of side plots and the insistence on not resolving some of these storylines earlier. It is also contrived in the way it resolves many situations.

However, it is easy to forgive this when the acting is sooo strong (the main heroine and the main villain are amazing, but not only them) and the story manages to engage us so intensely, touching on essential societal issues (not only bullying and associated traumas but also social inequalities, corruption and relationships).

Nevertheless, I still can't see how a second season won't be a case of diminishing returns.

Mask Girl (2023– )

Great

[8/10 · 24 September 2023]

I loved this. Each episode is quite different from the previous one, even in terms of tone, and that's something I really admire in a series.

I usually complain a lot about K-Dramas dragging on with long and many episodes (almost as a telenovela), but here, Mask Girl condenses everything into 7 explosive episodes. If something, I wanted even more. It takes unexpected and crazy turns, has excellent editing, smart writing, and outstanding performances. No one works the genre like the Koreans, who have been the best in thrillers for the past 25 years.

I can't understand why people are not talking about this one...

The Traitor (2019)

Informative and entertaining

[8/10 · 24 September 2023]

A kind of movie I will always love. Informative and, at the same time, entertaining, never forgetting its artistic side.

Grounded in excellent performances, especially Pierfrancesco Favino in the lead role, unexpected scenes, unafraid to shock, but also unafraid to show its more humorous side, it is a very revealing film of a time and place that seems distant but is not that far away and could always return.

I wish I could have seen more of some side characters, but it's impossible to demand that from a 150-minute film with a very good pace and several time jumps. Only a TV series could have provided me with that. I was left wanting to know more about the entire history of the Cosa Nostra and to explore more of Marco Bellochio's filmography.

Amelia's Children (2023)

Good Portuguese Horror

[7/10 · 17 September 2023]

After the crazy "Diamantino," Gabriel Abrantes opted for a conventional horror film. Kind of. As a horror fan, I can only thank him. And for a first work... it's not bad at all to start with one of the best works of the genre in the Portuguese language.

In the story, in New York, Edward (Carloto Cotta) lives peacefully with his girlfriend, Ryley (Bridgette Lindy-Paine). In search of his biological family, Edward ends up discovering he has a brother and a mother in Portugal, but soon realizes that uncovering his origins can be quite dangerous.

There's some excellent work here in introducing the plot and creating mystery. The film begins with a strong opening scene in the past (with Alba Baptista as the young mother) and then transitions to the present, initially presenting us with the main couple in a comprehensive yet not overly expository manner. These are the two best-developed, most well-rounded characters, greatly aided by the excellent performances of Carloto Cotta (who plays two very distinct roles) and Bridgette Lindy-Paine. Lindy-Paine, in particular, carries the film more than expected, always being the character who pieces together the plot. Anabela Moreira's outstanding work should also be highlighted; even covered in makeup, she manages to shine in the role of the most enigmatic character, the mother of the brothers.

The way Abrantes handles the genre is quite interesting, adding some dashes of humour (although some of the audience seemed to think it was purely a comedy) and blending in elements of traditional Portuguese folklore, as well as incorporating social commentary related to family and romantic relationships with a good dose of madness.

The soundtrack is excellent, as is all the work on the sound effects heightening the tension of the movie. From a visual perspective, the outstanding production design stands out (the interior spaces look like works of art), and the cinematography, especially in the darker scenes, is noteworthy. At times, the film leans into some genre clichés-several characters following voices in the dark, dreams within dreams, and more dreams-but it manages to rise above them by always keeping us entertained and engaged, concluding with a very strong third act.

Tiger Stripes (2023)

Powerful, great

[8/10 · 17 September 2023]

• Let children be children. Let teenagers be teenagers. Embrace the differences and the different stages of life.

• That girl just wanted to play. They didn't let her play nicely, so she started playing naughty.

• Now I understand periods a bit better. I think.

• Powerful performance in the lead role by Zafreen Zairizal.

• I hate bullies. One of those children (Farah) should have also had her head cut off.

• The special effects in motion aren't great, but oddly, they add some charm.

• Excellent soundtrack, a raw portrayal of certain closed-minded thoughts, certain traditions, and how they can affect both children and how they can affect both children and adults.

• Quite artistic. At its own pace. Some of the most beautiful shots of the year. A luxurious directorial debut.

Superposition (2023)

Interesting take

[7/10 · 17 September 2023]

• It seems to me that Nordic people should spend less time having intelligent conversations and more time having sex. It would avoid a lot of this.

• A very interesting take on a situation that is not entirely new in cinema.

• It takes a bit too long to establish itself, and the pacing isn't always perfect.

• As soon as we have all four on the scene, things improve, and we get some excellent scenes.

• It makes us think, makes us question, puts us in those places.

• Finding ourselves, communicating, reaching understandings, heading towards the same direction. It shouldn't be that difficult, people.

• The ending is excellent. And heavy.

Pensive (2022)

Wasted potential

[5/10 · 17 September 2023]

• I liked the cinematography, I really enjoyed the sound too.

• I loved that comedic character. You know who I'm talking about.

• It takes quite some time to establish itself. 45 minutes for an 87-minute slasher seems like too much time to me.

• It doesn't explore its biggest mystery enough (the figures).

• It doesn't delve deep enough into most of its characters and gives a terrible conclusion to the central romance (the boat scene is ridiculous).

• Most of the deaths are good, with some creative imagination.

• Still, I'm trying to figure out why 20/30 teenagers wouldn't come together to take down a man with a knife.

• The main character's arc is unexpected and, in a way, interesting.

• It's not a terrible slasher to start with, but it's very similar to everything that has already been done, with the potential for much more if it had explored the local folklore behind the plot.

New Normal (I) (2022)

Love it

[8/10 · 17 September 2023]

• I usually love anthologies, especially when they are very creative, so, I'm not surprised to like this more than the most.

• The way it blends genres and lightly addresses what it portrays on screen might offend some. I consider it quite well executed, capable of entertaining every minute. Very funny and a fun time.

• Some chapters are funnier. Some are more intense. Some carry more messages. All different, but in the end, I really enjoyed them all.

• I finished wanting to watch it all over again to connect potential missed dots.

• I want to see all these actors again in different projects. Excellent performances.

• Searching for a message in a film like this is a waste of time. It's a movie meant to entertain and is quite cynical because that's how its author sees this world. This New Normal.

Property (2022)

Strong and realistic

[8/10 · 16 September 2023]

• The greatest praise I can give to the film is that it never treats the viewer as dumb. It never seeks to indoctrinate or impose viewpoints.

• In this way - much like what Michel Franco did with New Order - it will certainly offend some who want to hear what makes them feel better. I won't be surprised if someone call this film fascist. It's not. Of course not. Its creator, Daniel Bandeira, despises Bolsonaro and similar clowns, but good cinema/art is supposed to make you uncomfortable and most things are not black or white. 100% good and 100% bad are Hollywood's concepts and divisions.

• Malu Galli in the lead role. What a performance!

• It's a very intense film, where even in its calmest moments, it's giving us something to reflect on, never anything easy.

• The violence is immense. Raw, without embellishments. Just like it will be on the day of the revolution. Which will be televised.

• Impeccable camera movement and unsettling sound effects heighten the heavy atmosphere of anticipation, making it clear that something bad is about to happen.

• The rich and the poor need to start talking. As someone who leans left, I advocate that everything should start with narrowing the ever-widening gap, but above all, there must be communication. The rope will stretch so much that it will break. This film is more predictive than fictional.

Lovely, Dark, and Deep (2023)

Ok, but potential for much more

[6/10 · 16 September 2023]

• Beautiful landscapes. Portugal, of course.

• Georgina Campbell is a good actress and can carry a movie on her own. It's easy to believe in what the character is feeling.

• The feeling of isolation in the park is very well conveyed to the audience.

• Excellent production values. Good cinematography and effective use of ambient sound to create tension.

• There are a couple of good moment, but I didn't feel like the tension reached the intended levels. Perhaps it was due to the audience around me, which rarely allowed me to concentrate.

• The film loses a lot when it delves into the "unreal," becoming a bit tiresome.

• Okay... but why would any ranger want to work and live there after knowing everything? I don't consider the ending sufficiently satisfying.

Raging Grace (2023)

Good

[7/10 · 16 September 2023]

• Excellent relationship and dynamics between mother and daughter. Perfect cast.

• It has a lot to say about the weight and value of immigrants and how important they are for societies to function. It just didn't need an on-the-nose speech in the third act.

• The rich don't seem to know how to have relationships that don't involve possession and ownership. Eat them!

• I loved how music and sound effects were used to create suspense.

• It has its share of unexpected scenes and actions, with a very nice editing and camera work.

• The ending isn't entirely perfect, but the final scene is.

• That mischievous girl reminds me too much of my son.

• Old people love to hoard everything.