quarta-feira, 5 de outubro de 2011

Argento. Película (15 no total). CCBB Rio. 7 a 23 de outubro.

21 comentários:

bruno andrade disse...

Como se não bastasse, disponibilizaram hoje no KG L'anonima Roylott, giallo de 1936 do Raffaello Matarazzo.

paris1919 disse...

Peut-être (j'ai pas lu) pas necessairement mieux que les précédents numéros, mais quand même ;)
http://cahiersducinema.com/

KVN disse...

dar umas cervejas pro argento

bruno andrade disse...

Et Carax est en tournage, ce qui est déjà quelque chose.

http://www.youtube.com/watch?v=emNH90Nj5dY

http://www.youtube.com/watch?v=RW40Sj2ZkHQ

http://www.youtube.com/watch?v=aRWDEPF9JGg

http://www.youtube.com/watch?v=RuD05iY_FQg

Felipe Medeiros disse...

Aqui em João Pessoa, teremos a mostra "Um Olhar Plural Feminino".

Que tal mudar de planos?

bruno andrade disse...

That's the funny thing about movies: though the intentions behind them play a role, intentions aren't the final result. Yes, a film is a gesture, but it is more importantly a film. The writer only writes what he or she thinks up, while the moment you start running film through a camera, you let the world in. What language can't communicate, cinema wholeheartedly accepts, sometimes without us even noticing.

bruno andrade disse...

Like in a silent movie, the 3D image has to express more than the dialogue and that's a terrific discipline. So I've gone back to essential F W Murnau and Tod Browning while Dario keeps the camera moving in complicated ways. - Luciano Tovoli

Hélio disse...

Uma pena nao ir ao Rio. Optei por Sao Paulo, que nao ta com uma seleção das mais interessantes pra Mostra (tem o Herzog em 3D, o Nanni Moretti, o Bellocchio e nao muito mais que isso). Mas tem as retrospectivas.

Conhece/recomenda o Paradjanov e Aleksei German?

E o Elia Kazan, gosta? So conheço os famosos (Rua Chamada Pecado, Vidas Amargas e Sindicato de Ladrões, Clamor do Sexo), mas vai rolar outros, dos quais nunca ouvi falar.

bruno andrade disse...

Paradjanov é dos maiores entre os maiores, um Mizoguchi de outra galáxia, provavelmente o maior cineasta russo com o Barnet (e talvez até mesmo sem o Barnet). Recomendo todos, incluindo curtas.

Vi apenas um filme do German, um drama de guerra dos anos 70, se não me engano o mais famoso dele. É durão, bem pesado, lembra Miklós Jancsó mas com uma abordagem bem menos analítica e muito mais crua, cinemascope p/b do caralho.

Kazan é do caralho, Wild River imperdível.

RL Fernandes disse...

http://www.youtube.com/watch?v=XYcWp3KuwgI

http://www.youtube.com/watch?v=k1lR755URjg

http://www.youtube.com/watch?v=Add6Z7vGetQ

Hélio disse...

Impressao que tenho é que o Kazan nao é tido em alta conta pela critica de modo geral (efeito de sua relação com macartismo?), Ray e seus filmes sao sempre mais lembrados.

Curioso é que na Mostra nao terá alguns mais conhecidos como Viva Zapata, Boneca de Carne e Luz é Para Todos, mas uns que nunca ouvi falar: Laços Humanos, O Justiceiro, Um Rosto na Multidão e Terra de um Sonho Distante.

Valeu pelas dicas, inclusive pela citação ao Barnet, de quem sequer ja tinha lido a respeito e, por coincidencia, teve dois filmes postados recentemente no Making Off.

KVN disse...

Ontem (12/10) mesmo eu fui apresentar "Trauma" numa sessão especial aqui no Rio e o cinema estava repleto de garotos e garotos.

http://cinema.uol.com.br/ultnot/2011/10/16/meu-dracula-foi-inspirado-no-original-mas-tem-um-toque-de-dario-argento-diz-diretor-sobre-versao-3d-do-classico.jhtm

bruno andrade disse...

Opera = ida na zona

bruno andrade disse...

Donald Pleasence >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> Deus

Lucas disse...

THERE IS NO ESCAPE

KVN disse...

sunddely I entenred the paintings

KVN disse...

PHENOMENA, TWO EVIL EYES, TENEBRAE, OPERA, FANTASMA...NO MSM CINEMA DE OPERA.

bruno andrade disse...

http://www.youtube.com/watch?v=myUGk_3bd8U

bruno andrade disse...

http://www.youtube.com/watch?v=aXRpuY4KItE
http://www.youtube.com/watch?v=Db-Ww6W7dDQ
http://www.youtube.com/watch?v=gYPVvSt_5WY
http://www.youtube.com/watch?v=cJ1Pf87FRVg
http://www.youtube.com/watch?v=by4zU9JL8wQ
http://www.youtube.com/watch?v=2KUZ4vSS-ds
http://www.youtube.com/watch?v=Ws1URdgAG5U
http://www.youtube.com/watch?v=dH4rEqPIUqk

Dario Argento's films are not thrillers, never horror, they're locked/liberated in visionary architectures that ignore everything that does not belong to their own reality. Dario Argento is maybe the last "fellinian" in the italian cinema, the only one who's capable of creating visionary universes, independent and totally abstract, following their own rhythms, erasing everything else but the obscure, autistic fantasy of their author. That's why his movies, and especially his last movies, are probably misunderstood by people - they are probably too visionary, too deep down in the depths of the director's obsessions, too abstract and sublime to find the critic's approval. When you watch a Dario Argento movie you have to remember the artificious naivety of a perception that recognizes only its light. You have to accept the poetical world of an author who plays with the shadows of his soul creating characters that are made only of anguish and life. And death. Reality is somewhere else, it belongs to another universe, it reveals to other eyes. So, the Phantom of the Opera: a romantic (melo)drama dedicated to a shadow that has never met the sun, the film is totally locked into itself, trapped in the artificial world of the Opera, whipped by passion, possession, addiction, liberation. The outside world is excluded: we see it only once, Paris's roofs floating in the thin air, a lyrical space of a fantasy (that's why it's emphasized), Argento is christening a world that doesn't - can't - know his reality. The whole movie gets deliriously sublime and genuinely lyrical as it gets farther away from reality, announcing life/death in the end, stretching itself into nothingness until the last painfully beautiful image of Christine Daaè/Asia Agento's face, running, her back towards the light (salvation), while her face still facing the shadows, the darkness, the inside. Like Burroughs said "real directors are those who can create a universe in which they've lived or they'd love to live". So, ironically Argento today is the only possible hypothesis of "politically useful" cinema. I hope that Dario Argento, Asia Argento and Claudio Argento will keep delivering us these precious gems for a long, long time.

KVN disse...

http://www.youtube.com/watch?v=dH4rEqPIUqk&feature=player_detailpage#t=479s

isso me faz chorar

bruno andrade disse...

Ídem.

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