Ridley Scott vs. History

by Cláudio Alves

With Napoleon in theaters, Ridley Scott's on a rampage – or what most people call it, a press tour. The 85-year-old director is out of fucks to give, throwing shade at historians left and right, not to mention the entire population of France. If the French can't like themselves, how in the hell are they gonna like Scott's latest movie? Ruisms aside, the filmmaker's wrath has been primarily directed at those who dare come to his cinema expecting a modicum of historical accuracy. Simply put, that's not where Sir Ridley's interests lie, as he's fond of reminding his critics.

But then, why does he keep throwing himself at historical narratives? The conundrum got me thinking about his vast and vastly inconsistent filmography…

Click to read more ...

Viola Davis should try Horror

by Cláudio Alves

Coming into its second week in theaters, the new Hunger Games movie keeps doing solid numbers. The Ballad of Songbirds & Snakes is a not-so-surprising success, reinforcing the franchise's popularity and audience's taste for fancy-dressed dystopia. What's more surprising, perhaps, is the relatively positive critical consensus. Though few herald the Francis Lawrence flick as best-of-the-year material, it's also not counted amid 2023's many busted blockbusters. The cast has been especially praised, including Viola Davis, who is expanding her repertoire to include one mad-eyed, crazy-haired villain in red. 

As Gamemaker Volumnia Gaul, she's the story's primary antagonist, an embodiment of its universe's power structures, bloodthirsty and ruthless. Seeing Davis triumph in the role makes one wonder how she'd do in more genre fare. Horror, for example…

Click to read more ...

This Film Year, I'm Thankful for...

by Cláudio Alves

Happy Thanksgiving!

The world is burning and everything sucks, principled people are few and far between, with depression and bad news always waiting 'round the corner. And yet, even now, there are things to be thankful for. As a cinephile, I've found that films often represent a reprieve from doom, including when they catalyze one's anger and throw it back at the audience. Indeed, it's difficult to imagine life without those moving pictures. From a personal perspective, it's impossible to conceive of the past months without these screen-bound pleasures. So far, 2023 has been a fantastic year for my journey as a film fanatic, from stellar pictures to unprecedented opportunities.

It only seems fair to share some of that joy in a day that, for my American friends, is all about celebrating gratitude. Sure, I'm Portuguese, but the sentiment persists beyond borders. Without further ado, this film year, I'm thankful for…

Click to read more ...

Natalie Portman: Queen of Artifice

by Cláudio Alves

Some actors thrive through mimesis, reaching for realism when performing. In cinema, they bring the actuality of everyday life to the screen, psychology and material terms. Or they replicate others like straight mirrors. Since midcentury developments, that approximation of off-screen life has been standardized into what most recognize as "good acting." It's the mainstream, the rule, the de facto way of doing things. But is it the only way? I would think not and have grown to appreciate those who step outside those lines, whether deliberately, through their director's influence, or by mere accident.

When done right, embracing fakery may feel more honest and insightful than the attempt to copy - realer than real, truer than truth. All this to say, I love Natalie Portman at her most artificial and absurd…

Click to read more ...

The beauty of Linus Sandgren's cinema

by Cláudio Alves

There's been much ado about Saltburn, Emerald Fennell's sophomore feature and follow-up to Promising Young Woman. However, most coverage tends to focus on the narrative's sudsy details, the picture's eagerness to shock and provoke. There's also a lot to lust over, of course, from Barry Keoghan's middle-class interloper to Jacob Elordi's aristocratic wet dream. And then there’s Rosamund Pike, exuding ice queen glamour on the side. Yet, judging by trailers and stills, one aspect of Saltburn's spell seems underreported – it looks gorgeous, crisp and colorful, all shiny and new, images so ripe you want to sink your teeth into them.

Though one shouldn't dismiss Fennell's contribution to this aesthetic – some would argue the poppy aesthetic of her debut was its best element – much credit must go to Linus Sandgren, cinematographer mirabilis…

Click to read more ...