Reviews

Grief is a wound that needs time to heal. In the case of Black Panther, it is explicit that the loss of Chadwick is, and tends to remain, an open wound with serious difficulties to heal.

This second film in the saga presents the mourning and rebirth of the most interesting character in the current Marvel Universe.

The richness of Black Panther continues: extraordinary scenarios, afro futurism, good action scenes and a great evolution in the special effects, but setbacks in the construction of the narrative.

Weak plots take up much of the film, exposing Letitia Wright's difficulty in so suddenly assuming the leading role, making her a supporting character in a film that often seems to be about Namor, played by Tenoch Huerta.

Unfortunately, Wakanda Forever's emotions point to a weak resolution, which doesn't exploit the story's dramatic potential.

A wonderful, but not groundbreaking, blockbuster which will likely earn another Oscar nomination for Ruth E. Carter.

The viscerality of life is an inhabitant of the small corners of the world. In a meeting between the sea, the fog and the scarcity of a small town, Saela Davis and Anna Rose Holmer set the mood of the story.

The mystery captivates and at the same time disturbs, raising several questions about the dynamics between Watson's character and her son, played by Paul Mescal. As in the trailer, the sea swallows the plot in a failed attempt to take the audience deeper into the pains and other feelings displayed in the story.

In the end, we have a (almost) silent film starring Emily Watson's visceral gaze, but which, as the narrative unfolds, doesn't leave superficiality.

It's endearing when LGBTQIA+ stories are put in unusual situations. Football still has a troubled relationship with the presence of gay men, and Marcel Gisler takes advantage of this scenario to leave the obvious and show how intimacy builds passion.

A cute and sensitive film, but that doesn't hide the problems and intolerances that, until today, we face when we talk about sport and sexuality. Max Hubacher shines as the protagonist, delivering a mix of emotions that range from anger to an unmistakable tenderness in his eyes.

With some editing problems and small flaws in the dramatization of important scenes, the narrative loses strength at times, but nothing that photography (worthy of much recognition) can't get around.

In short, the film is a questioning of the consequences of embracing love and a protest against the taboos that still exist in the sports world.

When we tell a love story, we need to show the delicate, and sometimes brutal, transformations that a passion causes in life. In My Policeman, we have a prelude, but not an immersion in this narrative.

A sensitive film, which investigates the meaning of love and navigates the scenarios of intolerance in the 1950s, but finds problems in taking the audience to the deepest layers of history.

This may be due to a difficulty in disconnecting the image of who Harry Styles is from the character, or because at times the differences between the young cast and the adult cast are excessive.

Unfortunately, for Ron Nyswaner it won't be the script that will take him into the spotlight of awards seasons, but he hits the tone of invitation for those who (like me) haven't read the book yet.

The great love stories won't always be about soulmates. The bonds that exist between parents and children, in Blue Bayou become a limbo to explore delicate and intense subjects.

Immigrantism, family conflicts and the search for a cultural identity are the problems presented in this narrative that uses love as a tool, whether for healing, overcoming or building unforgettable memories (in family).

A triple work (direction, script and lead role) by Justin Chon, with an emphasis on the cinematography by the duo Ante Cheng and Matthew Chuang, which delivers a welcoming environment and takes those who watch to a place of vulnerability.

A story to feel.

Breaking the barriers of the screen and transpose to the audience all the sensations that run through the environment and the mind of a character, is not easy. In 'Shiva Baby', Emma Seligman makes tension, anxiety and weirdness an insane and captivating playground for those who watch.

In a funeral, filled with embarrassing situations, family problems, acid looks and irony in each camera movement, we live the claustrophobic paradoxes of the narrative.

The result of an interesting script, an extraordinary direction and a strangely unforgettable experience.

Is a comedy allowed to be so absurd? I don't know. But this one is amazing!

Boi Neon shows the veracity of the bowels of Brazil from a perspective that is often overshadowed. With a delicate photography, simple narrative and protagonists that show the naturalness of what it is to be Brazilian, we are taken by a story of acceptance, search and fulfillment.

Nothing is overdone, everything is measured by the rule of simplicity. Something that invites us to rethink the reality and hysterical ambitions of our time. A story that opens up the complexity and diversity of Brazil, in a story of self-love, love of life and an unapologetic passion for dreams.

The ending is awkward and divisive, but it doesn't detract from the movie experience.

Billy Eichner tries to make a big gay romantic comedy, but hits a hysterical version of a special episode of Billy on the Street, with bad jokes.

A film with such a platform, it defames the LGBTQIA+ community by bringing to the screen backward thinking, ridiculous stereotypes and a poor story about how we relate.

You have to think about the consequences of making a film like this. Here, space is opened for the reinforcement of prejudices and puts our community in a place of superficiality.

In a world crowded with LGBTQIA+ projects begging for funding, the major studios choose this!?! Proof that nothing has changed.

As we say in Brazil: it would be funny if it weren't tragic!

Delicate, light and divergent from the heavy and complex dramas that circulate the vast majority of gay narratives. The script, cinematography and editing, lead the construction of a love story close to everyday life.

Without major twists, we follow a healing process that begins with strangeness and ends with the birth of a passion. The pain, doubts and intensity of emotions are clear in the eyes of the protagonists, despite the fact that at times there are strangeness in the tone of the performance. The film is genuine, as well as being the perfect choice for those who want to watch 'love' in the purest and simplest form.