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…

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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…

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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…

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"The Color Purple" and the Best Supporting Actress Oscar History

by Cláudio Alves

A shadow of uncertainty has loomed over the awards season for a long time. It was the enigma of a major contender yet unwatched until last week when the first screenings of The Color Purple movie musical finally took place. Now, it feels like the race is truly on, with the Blitz Bazawule's picture firmly established in the run for gold. And of the categories it might compete in, Best Supporting Actress is the surest bet. Indeed, some folk are already predicting Danielle Brooks for a sweeping victory thanks to Sofia, the sing-and-dance version of the same role that earned Oprah Winfrey a nomination 38 years ago. On stage, both Brooks and Felicia P. Fields have earned nods for the part, too. But will Taraji P. Henson's Shug Avery follow her into the 96th Academy Awards ballot? 

These matters make one think about the history of the Best Supporting Actress Oscar, its embrace of musicals, and its propensity for nominating multiple people from the same film…

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Remember when we loved Taika Waititi?

by Cláudio Alves

Oh, how the mighty have fallen. Once upon a time, the prospect of a new Taika Waititi movie was cause for celebration, with excitement erupting across cinephiles everywhere. Now, however, when his oft-delayed Next Goal Wins finally makes it to theaters, the occasion is met with general disinterest. Sure, some critics have praised the thing, but the excitement doesn't seem there. Not even the inspirational true story or the return of Michael Fassbender to big studio fare is enough to provoke more than a shrug. As far as awards go, Oscar hopes are nowhere to be found unless the season suffers some severe transformations. 

When did the consensus about the Kiwi director curdle into indifference on the verge of dislike? Well…

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