#Mateusz Pacewicz

[speakingparts]

Boże Ciało [Corpus Christi]

[Jan Komasa 2019]

[myownprivatecinema]

Corpus Christi (2019), dir. Jan Komasa

Director of Photography:  Piotr Sobocinski Jr.

[themarciliob]

Rede de Ódio (The Hate / Sala samobójców. Hejter), 2020 [Dir. Jan Komasa] [NETFLIX]

[moviesallday5]

#618 #Boze Cialo (Corpus Christi)

[genevieveetguy]

Silence can also be a prayer.

Corpus Christi (Boże Ciało), Jan Komasa (2019)

[kristenswig]

Best Original Screenplay 2020

Winner:

Beanpole by Kantemir Balagov & Aleksandr Terekhov

Give me your hand.  I’ll stay with you two now.  I don’t need anyone, and Sasha won’t ever come around again.  You’ll have the baby.  It’ll be a little boy.  We’ll raise him, and then...and then I’ll start studying and we’ll go to the cinema and he’ll grow up smart.  He’ll have your eyes and my nose.  He’ll be tall.  He’ll heal us.  Do you feel it?  Do you feel it?

Nominees:

Black Bear by Lawrence Michael Levine

- Why’d you lie to me about seeing my movies? - Why’d you lie to me about your husband? - I’ve been lying since the second I got here.  My mother’s fine.  Well she’s a bitch but she’s alive.  She’s in Wisconsin.  I’m a really good cook.  I just have zero interest in having a family because I think children are disgusting.  And as for my scripts...I usually start with like a really simple premise, like, good triumphs over evil and um, I stopped getting hired as an actor because I was difficult, obviously.  What else?  I know exactly what solipsistic means.  I went to Wesleyan on a scholarship.  I’m a total feminist.  I think women are totally superior and all men should die. 

The Hater by Mateusz Pacewicz

- You took the bugs right?  What for? - For Rudnicki. - You know that taking such equipment outside is a huge risk.  Not only yours but mine and the client’s as well.  You have to think strategically.  Do you have anyone who can help you? - What do you mean? - Do you know this man?  Sun Tzu?  The Art of War?  Mean anything?  No.  Sun Tzu calls such a person a “lost agent.”  Someone who you sell false information to.  You don’t tell him who you are, you work with him, you use him for manipulation and provocation.  Of course everything within safety limits.  There’s no better textbook for people in our business.

Mank by Jack Fincher

Are you familiar with the parable of the organ grinder’s monkey?  Now, the organ grinder’s monkey is tiny in stature and having been taken from the wild, he’s naturally overwhelmed by the enormous world around him.  But every morning, a sweet elderly woman dresses him in a fine suit of clothes.  She fits him with a red velvet vest adorned with pearl buttons and a handsome red fez with a silk tassel.  She slips on brocade shoes that curl at the toe and he’s paired with a fine gilt music box on an exquisite gold chain fastened to his neck and his neck alone.  Whenever he ventures into the city to perform, he thinks, “what a powerful fellow I must be.  Look how patiently everyone waits just to watch me dance.  And wherever I go,” he thinks, “this music box must follow, and with it, this poor downtrodden man.  And if I chose not to dance, this sorry street peddler would starve.  And every time I do decide to dance, every time, he must play, whether he wishes to or not.”

The Nest by Sean Durkin

- What line of work are you in? - I pretend I’m rich. - Why do you pretend? - I don’t know. - Sounds tiring. - It is.  I had a million dollars once.  I was living in New York City and I had one million dollars in the bank.  I thought it’d just keep coming.  I thought that was it I was rich for the rest of my life...and then over time it just went.  And now I have nothing.

She Dies Tomorrow by Amy Seimetz

- You know when you’re on a highway and there’s a semi-truck up ahead of you and you know “I just have to speed up and get past that before something really bad happens” that’s what’s going on.  Or when you’re walking in New York City.  Have you ever been to New York City? - Yes I’ve been to New York City. - Right so in the summer when you look up and there’s air conditioners everywhere and you just know one of those is gonna pop out and crash down on your head.  Or like when you lock up everything at night.  I mean you make sure everything’s locked but then you just know something really bad is gonna happen.  And then you lay down finally to go to sleep but then you imagine this guy and his friends and they’re coming...not just to take everything that you have but to rape you and kill you...and not just rape you but taunt you so...kind of mercilessly that you’re going to have to beg for your own...

[speakingparts]

Boże Ciało [Corpus Christi] [Jan Komasa 2019]

[corpuschristi2020film]

Mozi (2019) Corpus Christi Teljes Film (HD) — Magyarul Online

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LENGYELORSZÁG 115" | Premier (HU): 2020.07.02. | Magyarhangya Dráma RENDEZŐ: Jan Komasa FORGATÓKÖNYVÍRÓ: Mateusz Pacewicz ZENE: Evgueni Galperine, Sacha Galperine SZEREPLŐK: Bartosz Bielenia , Leszek Lichota , Eliza Rycembel , Aleksandra Konieczna , Tomasz Zietek , Grzegorz Palkowski

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Thanks u for visiting, I hope u enjoy with this Movie Have a Nice Day and Happy Watching :)

[remedialreviews]

Remedial Awards, 2019

It’s time again for the Remedial Awards! I have watched more than 70 feature films released in 2019, 29 of which have been nominated for one or more Academy Awards (33 narrative feature films have been nominated for Oscars this year). Not that many will read this anyway, but I want to recognize that I am just another in a long list of white men who have weighed in on film this year (and every year since film was first developed), and have no “buts” to express about it: I dream of a world where we’re given colour in the Best Actor list and where women are nominated for Best Director, and the prevalence and dominance of the white male voice is a major contributing factor to the continuing lack of diversity in Hollywood.

Below, find my lists for most every feature category, ranked in order of my own preference. Those left out by the Academy that I believe deserved nominations are ranked and crossed out, while those that were nominated and (in my opinion) should not have been, are ranked below a stroke. I have not included Razzies this year, but know that I absolutely detested Joker. My largely uninformed prediction for the winner of each category will be marked with an asterisk. Films or performances I have not seen have been recorded in italics beneath the category. Without further ado . . .

Supporting Actress:

1. Florence Pugh ( Little Women ) 2. Adele Haenel ( Portrait of a Lady on Fire ) 3. Thomasin McKenzie ( Jojo Rabbit ) 2. Margot Robbie ( Bombshell ) 5. Penelope Cruz ( Pain and Glory ) 6. Jennifer Lopez ( Hustlers ) 3. Laura Dern ( Marriage Story )* 4. Scarlett Johansson ( Jojo Rabbit )

Kathy Bates ( Richard Jewell )

Makeup and Hair:

1. Portrait of a Lady on Fire 1. 1917 2. Bombshell* 4. Little Women 3. Judy -------------------------- Joker

Maleficent: Mistress of Evil

Costume Design:

1. Jacqueline Durran ( Little Women ) 2. Dorothée Guiraud ( Portrait of a Lady on Fire ) 3. Andrea Flesch ( Midsommar ) 4. Kym Barrett ( Us )  2. Mayes C. Rubeo ( Jojo Rabbit ) 6. Norma Moriceau ( Aladdin ) 3. Arianne Phillips ( Once Upon a Time in Hollywood )* 4. Sandy Powell and Christopher Peterson ( The Irishman ) -------------------------- Mark Bridges ( Joker )

Production Design:

1. Dennis Gassner and Lee Sandales ( 1917 ) 2. Lee Ha-Jun and Cho Won Woo, Han Ga Ram, and Cho Hee ( Parasite ) 3. Donal Woods ( Downton Abbey ) 3. Barbara Ling and Nancy Haigh ( Once Upon a Time in Hollywood )* 4. Bob Shaw and Regina Graves ( The Irishman ) 6. Henrik Svensson ( Midsommar ) 7. David Crank ( Knives Out ) 5. Ra Vincent and Nora Sopkova ( Jojo Rabbit )

Cinematography:

1. Roger Deakins ( 1917 )* 2. Claire Mathon ( Portrait of a Lady on Fire ) 3. Drew Daniels ( Waves ) 2. Jarin Blaschke ( The Lighthouse ) 5. Pawel Pogorzelski ( Midsommar ) 6. Fejmi Daut and Samir Ljuma ( Honeyland ) 7. Hong Gyeong-Pyo ( Parasite ) 8. Phedon Papamichael ( Ford v Ferrari ) 9. Yorick Le Saux ( Little Women ) 10. Anna Franquesa Solano ( The Farewell ) -------------------------- Robert Richardson ( Once Upon a Time in Hollywood ) Rodrigo Prieto ( The Irishman ) Lawrence Sher ( Joker )

Best International Feature Film:

1. Parasite* 2. Portrait of a Lady on Fire 2. Pain and Glory 3. Corpus Christi 5. I Lost My Body 4. Honeyland 7. Dirty God 8. Atlantique 9. Ash is Purest White

Les Miserables

Supporting Actor:

1. Willem Dafoe ( The Lighthouse ) 1. Tom Hanks ( A Beautiful Day in the Neighborhood ) 3. Timothee Chalamet ( Little Women ) 4. Lucas Hedges ( Waves ) 2. Anthony Hopkins (The Two Popes) 6. Asier Etxeandia ( Pain and Glory ) 7. Dean-Charles Chapman ( 1917 ) 3. Al Pacino ( The Irishman ) --------------------------  Joe Pesci ( The Irishman ) Brad Pitt ( Once Upon a Time in Hollywood )*

Animated Feature:

1. How to Train Your Dragon: The Hidden World 2. I Lost My Body 3. Klaus 4. Missing Link 5. Abominable 5. Toy Story 4*

Animated Short:

1. Dcera (Daughter) 2. Hair Love* 3. Memorable 4. Sister 5. Kitbull

Visual Effects:

1. Avengers: Endgame* 2. The Lion King 3. 1917 4. Ad Astra 5. Ford v Ferrari 4. Star Wars Episode IX: The Rise of Skywalker -------------------------- The Irishman 

Razzie: Alita: Battle Angel

Live Action Short Film:

1. Brotherhood 2. Nefta Football Club 3. A Sister -------------------------- The Neighbors’ Window*

Saria

Original Screenplay:

1. Rian Johnson ( Knives Out ) 2. Bong Joon-ho and Jin Won Han ( Parasite )* 3. Lulu Wang ( The Farewell ) 4. Céline Sciamma ( Portrait of a Lady on Fire ) 3. Noah Baumbach ( Marriage Story ) 6. Mateusz Pacewicz ( Corpus Christi ) 7. Susanna Fogel, Emily Halpern, Sarah Haskins, and Katie Silberman ( Booksmart ) 8. Robert Eggers and Max Eggers ( The Lighthouse ) 4. Sam Mendes and Krysty Wilson-Cairns ( 1917 ) -------------------------- Quentin Tarantino ( Once Upon a Time in Hollywood )

Adapted Screenplay:

1. Greta Gerwig ( Little Women )* 2. Taika Waititi ( Jojo Rabbit ) 3. Anthony McCarten ( The Two Popes ) 4. Andrew Huculiak ( Ash ) 5. Lorene Scafaria  ( Hustlers ) -------------------------- Steven Zaillian ( The Irishman ) Todd Phillips and Scott Silver ( Joker )

Original Score:

1. Alexandre Desplat ( Little Women ) 2. Thomas Newman ( 1917 ) 3. Rupert Gregson-Williams ( Abominable ) 3. Randy Newman ( Marriage Story ) 5. Cayne McKenzie ( Ash ) 6. Daniel Lopatin ( Uncut Gems ) 4. John Williams ( Star Wars Episode IX: The Rise of Skywalker ) -------------------------- Hildur Guðnadóttir ( Joker )* 

Razzie: Robbie Robertston ( The Irishman ) 

Original Song:

1. I’m Gonna Love Me Again ( Rocketman )* 2. Into the Unknown ( Frozen II ) 3. I’m Standing With You ( Breakthrough ) 4. Stand Up ( Harriet ) 5. I Can’t Let You Throw Yourself Away ( Toy Story 4 )

Lead Actor:

1. Tim Guinee ( Ash ) 1. Adam Driver ( Marriage Story ) 3. George MacKay ( 1917 ) 2. Antonio Banderas ( Pain and Glory ) 5. Kelvin Harrison, Jr. ( Waves ) 6. Adam Sandler ( Uncut Gems ) 7. Robert Pattinson ( The Lighthouse ) 3. Jonathan Pryce ( The Two Popes ) 9. Aaron Paul ( El Camino ) 10. Bartosz Bielenia ( Corpus Christi ) --------------------------  Leonardo DiCaprio ( Once Upon a Time in Hollywood ) Joaquin Phoenix ( Joker )*

Lead Actress:

1. Scarlett Johansson ( Marriage Story )* 2. Florence Pugh ( Midsommar ) 3. Taylor Russell ( Waves ) 2. Cynthia Erivo ( Harriet ) 3. Saoirse Ronan ( Little Women ) 6. Zhao Tao ( Ash is Purest White ) 7. Olivia Wilde ( A Vigilante ) 8. Noémie Merlant ( Portrait of a Lady on Fire ) 9. Vicky Knight ( Dirty God ) 10. Awkwafina ( The Farewell ) 4. Charlize Theron ( Bombshell ) -------------------------- Renee Zellweger ( Judy )

Director:

1. Céline Sciamma ( Portrait of a Lady on Fire ) 1. Bong Joon Ho ( Parasite )* 2. Sam Mendes ( 1917 ) 4. Lulu Wang ( The Farewell ) 5. Trey Edward Shultz ( Waves ) 6. Greta Gerwig ( Little Women ) 7. Elle-Máijá Tailfeathers, Kathleen Hepburn ( The Body Remembers ) 8. Sarah Daggar-Nickson ( A Vigilante ) -------------------------- Martin Scorsese ( The Irishman ) Quentin Tarantino ( Once Upon a Time in Hollywood ) Todd Phillips ( Joker )

Best Picture:

1. 1917* 2. Parasite 3. Knives Out 4. Portrait of a Lady on Fire 3. Little Women 4. Jojo Rabbit 7. Waves 5. Marriage Story 9. The Lighthouse 10. Pain and Glory -------------------------- The Irishman Ford v Ferrari Once Upon a Time in Hollywood Joker

Predictions for technical categories:

Sound Editing: Oliver Tarney and Rachel Tate ( 1917 )

Sound Mixing: Stuart Wilson ( 1917 )

Film Editing: Michael McCusker and Andrew Buckland ( Ford v Ferrari )

[kinowtubce]

SALA SAMOBÓJCÓW. HEJTER - recenzja Kino w tubce#225

Sala Samobójców. Hejter Jana Komasy, tytuł sugeruje kontynuację filmu sprzed kilku lat, a tak do końca nie jest. Raczej jest to zabieg marketingowy a nie kontynuacja. Oczywiście - nawiązania są, ale delikatne i nie trzeba koniecznie oglądać "jedynki", żeby wiedzieć o co chodzi w Hejterze. Bliżej temu filmowi do Bożego Ciała - sam reżyser powiedział, że te filmy są jak dwie połówki tego samego jabłka. Czuć też duch Martina Scorsese i można mieć skojarzenia z Jokerem - grubo :) ale przesady w tym nie ma. Bardzo gęsty, bardzo intensywny obraz hejterstwa i chyba pierwszy w polskim kinie tak sugestywny obraz rodzenia się tego zjawiska. Po więcej - zapraszamy do naszej recenzji :)

[bkenber]

Exclusive Video Interview with 'Corpus Christi's' Jan Komasa and Bartosz Bielenia

Exclusive Video Interview with ‘Corpus Christi’s’ Jan Komasa and Bartosz Bielenia

In a year filled with many great foreign films like “Parasite,” “Corpus Christi” is another one to keep an eye out for. Directed by Jan Komasa (“Suicide Room” and “Warsaw 44”), it stars Bartosz Bielienia as Daniel, a 20-year-old man on the verge of finishing his sentence at a youth detention center for second degree murder. While…

[27timescinema]

INTERVIEW - MATEUSZ PACEWICZ

By Stephen Porzio (pics © Natalia Ryba)

Originally published on the Europa Cinema’s blog.

Corpus Christi is a young adult’s deal: director Jan Komasa is 37 years old and his screenwriter Mateusz Pacewicz, is only 27 years old. During Venice Film Festival, where the film was awarded with the Europa Cinemas Label, the Irish ambassador for 28 Times Cinema interviewed Mateusz, for whom Corpus Christi is a first feature film. The film has since then been selected to represent Poland in the Oscars race. Below is a report of their conversation.

Venice Film Festival goers were blown away by Polish drama and Europa Cinemas Label winner Corpus Christi, centring on a young ex-convict who masquerades as a priest, duping a small-town parish. That said, many were perhaps unaware of the story’s basis in real life.

“I was obsessed with true stories about priest impersonators from Poland,” says screenwriter Mateusz Pacewicz. “It happens. Every year - sometimes every half year - there's a new case. It's a social phenomenon. Even where we were shooting the film, it came out there was a priest impersonator there. It's that popular.”

On why someone would impersonate a priest, Pacewicz says: “Money is the primary motivation, as well as I think this weird combination of prestige and high social status. But to be somebody who can impersonate a priest, you need to have something - a kind of spirituality.”

“What fascinated me from the beginning was the ambivalence of the premise. We have somebody who maybe just does it for money. Perhaps, it’s also for some emotional profit. He wants to feel he's someone better than he really is. Maybe it’s a whole different reason. This multi-dimensionality was what kept me going working on the story.”

To prepare to write Corpus Christi, Pacewicz also studied the New Testament and read about Menocchio, a 16th century Italian miller burnt at the stake by the Inquisition for his unorthodox religious views. The latter was deeply devout to God but critical of the Catholic Church’s wealth stating: "I believe the spirit of God dwells in all of us ... and I also believe that anyone who has studied can become a priest without being ordained, because it is all a business.”

The spirit of Menocchio certainly looms large over Corpus Christi. Yes, the central figure of Daniel (a star-making turn by Bartosz Bielenia, nailing the duality of his character) perhaps begins his deception for selfish reasons. Yet, he is a true Christian who winds up doing more for his new community - a village still healing from the aftermath of a car crash which killed numerous of the town’s teens – than its previous minister.

According to Pacewicz, the film depicts what might happen if the Catholic Church returned ‘to its roots of solidarity and a more democratic structure.’ Elaborating the writer says: “What's weird about Catholicism is it's an extremely hierarchical organisation. This doesn't really make sense when you read the New Testament.”

Corpus Christi impressively juggles tone, switching between comedy, drama and more thriller elements. “That was the most difficult thing for me – to balance those genres,” says Pacewicz. “I was afraid it would become lukewarm in the end, lacking intensity because of those different aspects.”

“But I felt it was the only way I could tell this story - to have a little of those funny moments where we laugh because we see someone like us in a situation very different to ours. Those laughs are moments of empathy with this character who otherwise can be quite distant.”

Pacewicz praises the film’s director Jan Komasa for helping navigate those tonal shifts. “He did a tremendous job at balancing it, something I struggled with while writing. He creates this chaos where actors will improvise a scene for ten minutes that has little to do with the three sentences we need.”

“While on set, I was like 'where's my script?'. But later watching the dailies, I thought 'Oh, here it is. Everything is right'. I don't know if it's just intuition or a plan but he creates this organic atmosphere where stuff just happens and he gets exactly what he wants and nobody notices when.”

The two are set to collaborate again on a substantially different project, Suicide Room: The Hater, a sequel to Komasa’s 2011 tech thriller. “Right after Corpus Christi began, Jan asked whether I'd like to work on another film. It tells the story of a young guy from a small village who comes to this elitist family because he's in love with their daughter.”

“He is rejected by this big city family and seeks vengeance through his job at a buzz marketing agency where he creates fake news and destroys people. It is very different to Corpus Christi. It's not quiet. It's loud.”

One hopes their upcoming film will continue Poland’s strong cinematic output of late (Pawel Pawlikowski’s 2018 drama Cold War garnered three nominations at this year’s Academy Awards). Speaking about his nation’s cinema Pacewicz says: “A few years ago, Corpus Christi might have gone unnoticed. Back then, we didn’t have sales agents interested in Polish cinema. It was like ‘yeah send us the link, maybe we will watch it.’”

“It’s changed significantly over the last five years. There’s this surge. I think it's partly connected to Pawlikowski and his recent success. Right now, when you do something in Poland, people in Los Angeles - if it gains some international recognition - will know about it.”

Pacewicz was full of praise for the Europa Cinemas Label recognising Corpus Christi. Awarded by a jury of Europa Cinemas exhibitors, the prize aims to increase the promotion, circulation and exhibition lifespan of winning films. This is through various schemes aimed at raising the top movie’s profile.

“These awards are extremely important. Movies like Corpus Christi are intimate and quiet. They can get lost amongst today’s overwhelming amount of content. From this perspective, these awards can be a game-changer for a film like ours.”

Pacewicz is also delighted the Corpus Christi will get to be screened in theatres. “Personally, I find it very hard to fully experience a film without watching it in a cinema. It's a completely different ritual, one that is very needed in the short attention span time we live in. Corpus Christi would be difficult to watch on your tablet while jogging.”

“I believe this is a story that can resonate with many diverse cultures and people from different contexts. This prize is another step towards sharing our film with viewers from all over Europe and the world.”

[edsonlnoe]

MG Awards 2020 Director Levan Akin And Then We Danced Robert Eggers The Lighthouse Hong Khaou Monsoon Darius Marder Sound of Metal Céline Sciamma Portrait de la Jeune Fille en Feu Joe Talbot The Last Black Man in San Francisco Guión Original And Then We Danced Levan Akin Boże Ciało Mateusz Pacewicz Driveways Hannah Bos, Paul Thureen Monsoon Hong Khaou Palm Springs Andy Siara Sound of Metal Abraham Marder, Darius Marder Guión Adaptado Emma. Eleanor Catton Jojo Rabbit Taika Waititi Martin Eden Maurizio Braucci, Pietro Marcello The Sisters Brothers Jacques Audiard, Thomas Bidegain Transit Christian Petzold Unpregnant Jenni Hendriks, Ted Caplan, Jennifer Kaytin Robinson, Rachel Lee Goldenberg, Bill Parker Edición And Then We Danced Levan Akin, Simon Carlgren Boże Ciało Przemyslaw Chruscielewski Black Is King Andrew Morrow, Maria-Celeste Garrahan, Haines Hall, Tom Watson Palm Springs Andrew Dickler, Matt Friedman Sound of Metal Mikkel E.G. Nielsen Uncut Gems Ronald Bronstein, Benny Safdie Escena And Then We Danced Honey The Farewell The Farewell The Old Guard He’s All and He’s More Onward I Always Had You Portrait de la Jeune Fille en Feu La Jeune Fille En Feu Sound of Metal Those Moments of Stillness

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Crítica, Rede de Ódio - Netflix | Desencaixados

O longa polonês faz o público perceber o quão nocivo as pessoas podem ser dentro e fora da internet. Rede de Ódio é um “choque de realidade”.

Título: Rede de Ódio

Título original: Hejter

Diretor: Jan Komasa

Gênero: drama, suspense

Data de lançamento: 29 de julho de 2020

Nacionalidade: Polônia

Sinopse: “Em Rede de Ódio, um jovem passa a fazer sucesso incitando o ódio em campanhas nas redes sociais, atacando desde influenciadores virtuais a políticos renomados. O que ele não contava é que toda essa crueldade no mundo virtual cobraria seu preço no mundo real, complicando sua vida.”

Classificar um filme como “atual” é entender que seus temas e suas ambições expõe o período contemporâneo e, na maioria dos casos, revelam tudo o que há de mais problemático na sociedade, mesmo que algumas pessoas não queiram enxergar. Rede de Ódio tornou-se o mais recente exemplo de uma obra que reflete o presente, e mostra que, apesar de um protagonista com tendências sociopatas, o grande vilão da história é tudo que está ao seu redor.

Quando começamos a acompanhar o protagonista Tomazs Giemza (Maciej Musialowski) no início da sua jornada, não demora para perceber que tipo de personagem estamos vendo, alguém esperto e com uma inocência duvidosa. Isso é notado pelos detalhes na bela atuação de Maciej Musialowski, que em menos 10 minutos precisa cativar o espectador para ficar no seu lado ao passo que constrói uma estranheza no seu olhar e na sua voz ao ponto de ser imprevisível, e isso não é uma tarefa fácil. Partindo disso, o filme procura sempre utilizar essa dualidade na interpretação, que é refletida na história.

Na internet, manipular é mais fácil do que parece

Após o primeiro ato bem cauteloso, na qual prioriza a índole de todos os personagens antes de tudo, é o momento para começar a trabalhar o ponto mais forte do longa: a internet. O nome “rede” no título não é por acaso, tudo o que o protagonista precisa é da internet e suas diversas possibilidades, principalmente as redes sociais, e isso é o suficiente para muita coisa acontecer. A disponibilização de informações pessoais e acontecimentos do cotidiano nas redes socais é o que impulsiona mais ainda narrativa e torna o filme o mais “assustador” possível.

O roteiro de Mateusz Pacewicz cria uma excelente reflexão ao colocar um protagonista com tendências sociopatas e emocionalmente instável junto com a grande rede de comunicação do século XXI. Dentro dessa reflexão, por exemplo, está o questionamento da sanidade mental das pessoas na internet, afinal, todas são facilmente influenciadas por alguém com atitudes questionáveis no filme. É só parar para perceber como o clímax do filme é efetuado e buscar entender da onde partiu tudo, o efeito de uma simples causa pessoal e que resulta numa consequência mais trágica.

Enxergando a realidade

É claro que há mais discussões para serem ditas, como a ética das pessoas nas suas respectivas áreas de trabalho, o desprezo e os limites para conquistar a fama, mas todas convergem para tratar de um assunto maior, as pessoas. É muito interessante notar a variedade de personagens secundários e suas maneiras de pensar, e como o protagonista se comporta quando está perto desses personagens. Cada diálogo é pensado para refletir o universo de cada pessoa e isso, obviamente, se mostra como um artifício de extrema eficácia na hora de manipular.

Rede de Ódio não faz questão de amenizar suas duras críticas à humanidade nos tempos atuais e isso até provoca um desconforto no seu público, mas faz parte da experiência e garante que o expectador possa ter um “choque de realidade”. Dito isso, o longa acaba de ganhar o destaque merecido e se tornou um dos filmes mais importantes para serem vistos nos últimos anos.

Por Paulo Olin Francês

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Filme de drama Polonês, chega ao streaming da Netflix. Com a direção de Jan Komasa e roteiro de Mateusz Pacewicz. Na premissa de “Rede de Ódio”, um jovem rapaz sem nenhum princípio moral, começa a difamação de algumas pessoas em suas redes sociais, fazendo assim com que suas reputações sejam destruídas. Ele trabalha nesse mundo sombrio e sem futuro, acreditando ser o seu objetivo de vida. Mas com o passar do tempo ele percebe que tamanho ódio destilado virtualmente, está interferindo de maneira devastadora a sua vida no mundo real. (em Tijuca, Rio De Janeiro, Brazil) https://www.instagram.com/p/CDrRIHpFXR2/?igshid=lzuuah1gm85