#kim onah

[cerealbishh]

the notebook cast listening to the cast album together(x)

[lesmiserabelles]

sydney shepherd and kim onah as lizzie borden and alice russell | lizzie, theaterworks hartford

[thetisming]

my beautiful wife who hadnt even started rehearsals for this character before she had to play her

[derekklenadaily]

Flashback Friday: Derek, Logan Hart and Kim Onah during the rehearsal process of 'Jagged Little Pill' at the American Repertory Theatre in 2018.

[therunwayarchive]

Onah Iya at Kim Shui, Fall 2022

[drzito]

Las 242 peliculas que he visto en 2023 (parte 2)

122. Martyrs (Pascal Laugier, 2008)

123. Of time and the city (Terence Davies, 2008)

124. Pandorum (Christian Alvart, 2009)

125. La casa del diablo (Ti West, 2009)

126. Catfish (Ariel Schulman y Henry Joost, 2010)

127. Rare exports: Un cuento gamberro de navidad (Jalmari Helander, 2010)

128. Final Destination 5 (Steven Quale, 2011)

129. Infierno blanco (Joe Carnahan, 2011)

130. La maldicion de Rookford (Nick Murphy, 2011)

131. Berberian sound studio (Peter Strickland, 2012)

132. Turistas (Ben Wheatley, 2012)

133. Across the river (Lorenzo Bianchini, 2013)

134. Colonia V (Jeff Renfroe, 2013)

135. Como todas las mañanas (Toni Nievas, 2013)

136. El Congreso (Ari Folman, 2013)

137. The Sacrament (Ti West, 2013)

138. Vivir en peligro (Paul Wright, 2013)

139. El sopar (Pere Portabella, 2014)

140. Lucy (Luc Besson, 2014)

141. Sueñan los androides (Ion de Sosa, 2014)

142. Uno tras otro (Hans Petter Moland, 2014)

143. Equals (Drake Doremus, 2015)

144. Dope (Rick Famuyiwa, 2015)

145. 13 horas: Los soldados secretos de Bengasi (Michael Bay, 2016)

146. El Caso Sloane (John Madden, 2016)

147. El Contable (Gavin O'Connor, 2016)

148. El Vacio (Jeremy Gillespie y Steven Kostanski, 2016)

149. Holy Hell (Will Allen, 2016)

150. La autopsia de Jane Doe (André Øvredal, 2016)

151. Maria (y los demas) (Nely Reguera, 2016)

152. Swiss Army Man (Dan Kwan y Daniel Scheinert, 2016)

153. Without Name (Lorcan Finnegan, 2016)

154. Brawl in Cell Block 99 (S Craig Zahler, 2017)

155. Caras y Lugares (Agnes Varda y JR, 2017)

156. Good Time: Viviendo al limite (Benny y Josh Safdie, 2017)

157. Hagazussa (Lukas Feigelfeld, 2017)

158. Secretos Oscuros (Michael Pearce, 2017)

159. Ghost in the shell. El alma de la maquina (Rupert Sanders, 2017)

160. The Cloverfield paradox (Julius Onah, 2018)

161. Illang: La brigada del lobo (Kim Ji-Woon, 2018).

162. Normandia al desnudo (Philippe Le Guay, 2018)

163. Al otro lado de la ley (S Craig Zahler, 2018)

164. Apuntes para una pelicula de atracos (Leon Siminiani, 2018)

165. El odio que das (George Tillman Jr, 2018)

166. 303 (Hans Weingartner, 2018)

167. El Convento (Payl Hyett, 2018)

168. La primera purga: La noche de las bestias (Gerard McMurray, 2018)

169. Mudo (Duncan Jones, 2018)

170. Noche de lobos (Jeremy Saulnier, 2018)

171. 6 en la sombra (Michael Bay, 2019)

172. Bait (Mark Jenkin, 2019)

173. Escape room: Sin salida (Adam Robitel, 2019)

174. Fyre (Chris Smith, 2019)

175. Sator (Jordan Graham, 2019)

176. Swallow (Carlo Mirabella-Davis, 2019)

177. Us (Jordan Peele, 2019)

178. Ventajas de viajar en tren (Aritz Moreno, 2019)

179. Bad Boys for Life (Adil El Arbi y Bilall Fallah, 2020)

180. El año del descubrimiento (Luis Lopez Carrasco, 2020)

181. Last and First Men (Johann Johannsonn, 2020)

182. Socias y Enemigas (Miguel Arteta, 2020)

183. Undergods (Chino Moya, 2020).

184. A tiempo completo (Eric Gravel, 2021)

185. Belle (Mamoru Hosoda, 2021)18

186. Black Phone (Scott Derrickson, 2021)

187. Candyman (Nia DaCosta, 2021)

188. Censor (Prano Bailey-Bond, 2021)

189. Destello Bravio (Ainhoa Rodriguez, 2021)

190. El Escuadron Suicida (James Gunn, 2021)

191. Eles transportan a morte (Samuel M. Delgado y Helena Girón, 2021)

192. Escape Room: La Pel·lícula (Hèctor Claramunt, 2021)

193. Espiritu Sagrado (Chema Garcia Ibarra, 2021)

194. Hellbender (John Adams, Zelda Adams y Toby Poser, 2021)

195. King Car (Renata Pinheiro, 2021).

196. La casa de las profundidades (Julien Maury y Alexandre Bustillo, 2021)

197. La Hija (Manuel Martin Cuenca, 2021)

198. Lamb (Valdimar Jóhannsson, 2021)

199. Licorice Pizza (Paul Thomas Anderson, 2021)

200. Malignant (James Wan, 2021)

201. The ice road (Jonathan Hensleigh, 2021)

202. The Medium (Banjong Pisanthanakun, 2021)

203. Tiempo (M night Shyamalan, 2021)

204. Tros (Pau Calpe, 2021)

205. You are not my mother (Kate Dolan, 2021)

206. Aftersun (Charlotte Wells, 2022)

207. Almas en pena de Inisherin (Martin McDonagh, 2022)

208. Ambulance. Plan de huida (Michael Bay, 2022).

209. Argentina 1985 (Santiago Mitre, 2022)

210. As Bestas (Rodrigo Sorogoyen, 2022)

211. Black Panther: Wakanda Forever (Ryan Coogler, 2022)

212. Cangrejo Negro (Adam Berg, 2022)

213. Crimenes del futuro (David Cronenberg, 2022)

214. El agua (Elena López Riera, 2022)

215. El triangulo de la tristeza (Ruben Ostlund, 2022)

216. Emily, la estafadora (John Patton Ford, 2022)

217. En los margenes (Juan Diego Botto, 2022)

218. Enys Men (Mark Jenkin, 2022)

219. Eo (Jerzy Skolimowski, 2022)

220. Flux Gourmet (Peter Strickland, 2022)

221. La hija eterna (Joanna Hogg, 2022)

222. La paradoja de Antares (Luis Tinoco, 2022)

223. Men (Alex Garland, 2022)

224. Modelo 77 (Alberto Rodriguez, 2022)

225. Muertos muertos muertos (Halina Reijn, 2022)

226. O corpo aberto (Angeles Huerta, 2022)

227. Predator. La Presa (Dan Trachtenberg, 2022) 

228. Puñales por la espalda: El misterio de Glass Onion (Rian Johnson, 2022)

229. RRR (SS Rajamouli, 2022)

230. Suro (Mikel Gurrea, 2022)

231. Vesper (Kristina Buozyte y Bruno Samper, 2022)

232. You won’t be alone (Goran Stolevski, 2022)

233. X (Ti West, 2022)

234. Asteroid City (Wes Anderson, 2023)

235. Barbie (Greta Gerwig, 2023)

236. El banco de Dave (Chris Foggin, 2023)

237. Elemental (Peter Sohn, 2023)

238. Indiana Jones y el dial del destino (James Mangold, 2023)

239. Llaman a la puerta (M Night Shyamalan, 2023)

240. Mision Imposible: Sentencia Mortal - Parte 1 (Christopher McQuarrie, 2023)

241. Nadie te salvara (Brian Duffield, 2023)

242. The Creator (Gareth Edwards, 2023)

[onewordshy]

“Mad River” from The Daughters by Shaina Taub sung by Carly Kincannon, Shoba Narayan, Kim Onah and Lauren Villegas

I was always disappointed that The Daughters never really went anywhere, every song we heard from it was a banger.

[stainedglassgardens]

Favourite films watched in 2018

I arranged them into broad categories -- other than that they’re in no particular order.

Indie

River of Grass, Meek’s Cutoff and Night Moves (Kelly Reichardt, 1994, 2010 and 2013)

Tangerine and The Florida Project (Sean Baker, 2015 and 2017)

We Need to Talk About Kevin (Lynne Ramsay, 2011)

Winter’s Bone (Debra Granik, 2010)

Kumiko, the Treasure Hunter (David Zellner, 2014)

Ginger & Rosa (Sally Potter, 2012)

Cracks (Jordan Scott, 2009)

I Am Not a Witch (Rungano Nyoni, 2017)

Turn the River (Chris Eigeman, 2007)

Hello I Must Be Going (Todd Louiso, 2012)

Shuttle Life (Tan Seng Kiat, 2017)

On Body and Soul (Testről és lélekről, Ildikó Enyedi, 2017)

Vagabond (Sans toit ni loi, Agnès Varda, 1984)

Easy Living (Adam Keleman, 2017)

Mother of George (Andrew Dosunmu, 2013)

Khadak (Peter Brosens and Jessica Hope Woodworth, 2006)

Shirkers (Sandi Tan, 2018)

Comedy

Lipstick Under My Burkha (Alankrita Shrivastava, 2016)

Addicted to Fresno (Jamie Babbit, 2015)

The Spy Who Dumped Me (Susanna Fogel, 2018)

Edge of Seventeen (David Moreton, 1998)

Secretary (Steven Shainberg, 2002)

Experimental

Scorpio Rising (Kenneth Anger, 1963)

Always Shine (Sophia Takal, 2016)

The Midnight Swim (Sarah Adina Smith, 2014)

La Jetée (Chris Marker, 1962)

Daisies (Sedmikrásky, Věra Chytilová, 1966)

Classics

Reflections in a Golden Eye (John Huston, 1967)

Dead Ringer (Paul Henreid, 1964)

Horror

Creep and Creep 2 (Patrick Brice, 2014 and 2017)

The Poughkeepsie Tapes and As Above, So Below (John Erick Dowdle, 2007 and 2014)

Raw (Grave, Julia Ducournau, 2016)

Cargo (Ben Howling and Yolanda Ramke, 2017)

Hard Candy (David Slade, 2005)

Snowtown (Justin Kurzel, 2011)

Banshee Chapter (Blair Erickson, 2013)

Mandy (Panos Cosmatos, 2018)

Science fiction

Primer and  Upstream Color (Shane Carruth, 2004 and 2013)

Resolution and The Endless (Justin Benson and Aaron Moorhead, 2012 and 2017)

Midnight Special (Jeff Nichols, 2016)

Arrival (Denis Villeneuve, 2016)

Into the Forest (Patricia Rozema, 2015)

Ex Machina (Alex Garland, 2014)

Under the Skin (Jonathan Glazer, 2013)

Liquid Sky (Slava Tsukerman, 1982)

Bird Box (Susanne Bier, 2018)

Action

Hell or High Water (David Mackenzie, 2016)

M.F.A. (Natalia Leite, 2017)

Revenge (Coralie Fargeat, 2017)

Brick (Rian Johnson, 2005)

Full list of 306 films watched in 2018 under the cut!

January

The Devil’s Candy (Sean Byrne, 2015)

A United Kingdom (Amma Asante, 2016)

Creep (Patrick Brice, 2014)

The Witch (Robert Eggers, 2015)

The Blues Brothers (John Landis, 1980)

The Lost Boys (Joel Schumacher, 1987)

Midnight Special (Jeff Nichols, 2016)

Arrival (Denis Villeneuve, 2016)

We Need to Talk About Kevin (Lynne Ramsay, 2011)

Life (Daniel Espinosa, 2017)

Logan (James Mangold, 2017)

Creep 2 (Patrick Brice, 2017)

The Discovery (Charlie McDowell, 2017)

Otherlife (Ben C. Lucas, 2017)

The Dressmaker (Jocelyn Moorhouse, 2015)

Bokeh (Geoffrey Orthwein and Andrew Sullivan , 2017)

February

Get Out (Jordan Peele, 2017)

The Handmaiden (아가씨, Agassi, Park Chan-wook, 2016)

Brick (Rian Johnson, 2005)

Looper (Rian Johnson, 2012)

Winter’s Bone (Debra Granik, 2010)

Thelma (Joachim Trier, 2017)

The Guest (Adam Wingard, 2014)

Beach Rats (Eliza Hittman, 2017)

Let the Right One In (Låt den rätte komma in, Tomas Alfredson, 2008)

Cameraperson (Kirsten Johnson, 2016)

Sweet Bean (あん, An, Naomi Kawase, 2015)

The Hallow (Corin Hardy, 2015)

Cloverfield (Matt Reeves, 2008)

10 Cloverfield Lane (Dan Trachtenberg, 2016)

The Cloverfield Paradox (Julius Onah, 2018)

Moonlight (Barry Jenkins, 2016)

28 Days Later (Danny Boyle, 2002)

Take Shelter (Jeff Nichols, 2011)

Ginger Snaps (John Fawcett, 2000)

River of Grass (Kelly Reichardt, 1994)

Old Joy (Kelly Reichardt, 2006)

Reflections in a Golden Eye (John Huston, 1967)

March

Raw (Grave, Julia Ducournau, 2016)

Palo Alto (Gia Coppola, 2013)

By the Sea (Angelina Jolie, 2015)

Lady Bird (Greta Gerwig, 2017)

Jupiter Ascending (The Wachowskis, 2015)

Irreplaceable You (Stephanie Laing, 2018)

Kumiko, the Treasure Hunter (David Zellner, 2014)

Annihilation (Alex Garland, 2018)

Ravenous (Les Affamés, Robin Aubert, 2017)

The Bad Batch (Ana Lily Amirpour, 2016)

Notes on Blindness (Peter Middleton and James Spinney, 2016)

Breathe (Respire, Mélanie Laurent, 2014)

Night Moves (Kelly Reichardt, 2013)

Carol (Todd Haynes, 2015)

Lovesong (So Yong Kim, 2016)

Upstream Color (Shane Carruth, 2013)

April

ARQ (Tony Elliott, 2016)

Primer (Shane Carruth, 2004)

Meek’s Cutoff (Kelly Reichardt, 2010)

Certain Women (Kelly Reichardt, 2016)

The Lady from Shanghai (Orson Welles, 1947)

Waking Life (Richard Linklater, 2001)

Roman Holiday (William Wyler, 1953)

American Honey (Andrea Arnold, 2016)

Maurice (James Ivory, 1987)

The Silent House (La Casa Muda, Gustavo Hernández, 2010)

Viral (Ariel Schulman and Henry Joost, 2016)

Buster’s Mal Heart (Sarah Adina Smith, 2016)

Waitress (Adrienne Shelly, 2007)

Grey Gardens (Albert and David Maysle, 1975)

Ginger & Rosa (Sally Potter, 2012)

Cracks (Jordan Scott, 2009)

Into the Forest (Patricia Rozema, 2015)

A New Leaf (Elaine May, 1971)

Vertigo (Alfred Hitchcock, 1958)

The Beguiled (Sofia Coppola, 2017)

Scarface (Brian De Palma, 1983)

The Violent Years (William Morgan, 1956)

The Ritual (David Bruckner, 2017)

Casting JonBenet (Kitty Green, 2017)

Slums of Beverly Hills (Tamara Jenkins, 1998)

We’ve Forgotten More Than We Ever Knew (Thomas Woodrow, 2017)

Love and Other Cults (Kemonomichi, Eiji Uchida, 2017)

You Were Never Really Here (Lynne Ramsay, 2017)

Shirley: Visions of Reality (Gustav Deutsch, 2013)

Catfight (Onur Tuckel, 2017)

Pyewacket (Adam MacDonald, 2017)

May

Lick the Star (Sofia Coppola, 1998)

Scorpio Rising (Kenneth Anger, 1963)

Novitiate (Maggie Betts, 2017)

The Tree of Life (Terrence Malick, 2011)

The Happiest Day in the Life of Olli Mäki (Hymyilevä mies, Juho Kuosmanen, 2016)

Dead Reckoning (John Cromwell, 1947)

Human Flow (Ai Weiwei, 2017)

Mystery Train (Jim Jarmusch, 1989)

Dawson City: Frozen Time (Bill Morrison, 2016)

The Killing of a Sacred Deer (Yorgos Lanthimos, 2017)

I Am Not a Witch (Rungano Nyoni, 2017)

Cléo from 5 to 7 (Cléo de 5 à 7, Agnès Varda, 1962)

Orbiter 9 (Órbita 9, Hatem Khraiche, 2017)

M.F.A. (Natalia Leite, 2017)

Lipstick Under My Burkha (Alankrita Shrivastava, 2016)

Kedi (Ceyda Torun, 2016)

Deidra and Laney Rob a Train (Sydney Freeland, 2017)

The Most Dangerous Game (Irving Pichel and Ernest B. Schoedsack, 1932)

Girl Asleep (Rosemary Myers, 2015)

Always Shine (Sophia Takal, 2016)

The Monster (Bryan Bertino, 2016)

Desert Hearts (Donna Deitch, 1985)

Addicted to Fresno (Jamie Babbit, 2015)

Beyond a Reasonable Doubt (Fritz Lang, 1956)

The Fits (Anna Rose Holmer, 2015)

Hell or High Water (David Mackenzie, 2016)

The Midnight Swim (Sarah Adina Smith, 2014)

The Quiet Hour (Stéphanie Joalland, 2014)

Synchronicity (Jacob Gentry, 2015)

Who’s Afraid of Virginia Woolf? (Mike Nichols, 1966)

Pod (Mickey Keating, 2015)

Turn the River (Chris Eigeman, 2007)

Tangerine (Sean Baker, 2015)

Frequencies (Darren Paul Fisher, 2013)

Spring (Justin Benson and Aaron Moorhead, 2014)

Time Lapse (Bradley D. King, 2014)

Meet Me There (Lex Lybrand, 2014)

Ex Machina (Alex Garland, 2014)

The Florida Project (Sean Baker, 2017)

Berberian Sound Studio (Peter Strickland, 2012)

Laggies (Lynn Shelton, 2014)

Starlet (Sean Baker, 2012)

Dead Ringer (Paul Henreid, 1964)

The Doom Generation (Gregg Araki, 1995)

The Riot Club (Lone Scherfig, 2014)

Berlin Syndrome (Cate Shortland, 2017)

Dude (Olivia Milch, 2018)

Nightcrawler (Dan Gilroy, 2014)

June

Hello I Must Be Going (Todd Louiso, 2012)

Romy and Michele’s High School Reunion (David Mirkin, 1997)

Mystery Road (Ivan Sen, 2013)

The Double (Richard Ayoade, 2013)

Dear White People (Justin Simien, 2014)

The Selfish Giant (Clio Barnard, 2013)

Don’t Breathe (Fede Álvarez, 2016)

Marina Abramović: The Artist is Present (Matthew Akers, 2012)

Hot Bot (Michael Polish, 2016)

Beneath the Harvest Sky (Aron Gaudet and Gita Pullapilly, 2013)

Tim’s Vermeer (Teller, 2013)

The Firefly (La Luciérnaga, Ana Maria Hermida, 2015)

Twinsters (Samantha Futerman and Ryan Miyamoto, 2015)

Resolution (Justin Benson and Aaron Moorhead, 2012)

Enemy (Denis Villeneuve, 2013)

Mother of George (Andrew Dosunmu, 2013)

We Are What We Are (Jim Mickle, 2013)

The Battery (Jeremy Gardner, 2012)

Crystal Fairy & The Magical Cactus (Sebastián Silva , 2013)

Boy (Taika Waititi,2010)

The Perks of Being a Wallflower (Steven Chbosky, 2012)

White Bird in a Blizzard (Gregg Araki, 2014)

The American (Anton Corbijn, 2010)

Ocean’s Eight (Gary Ross, 2018)

Compliance (Craig Zobel, 2012)

Seeking a Friend for the End of the World (Lorene Scafaria, 2012)

Weekend (Andrew Haigh, 2011)

Under the Skin (Jonathan Glazer, 2013)

July

Martha Marcy May Marlene (Sean Durkin, 2011)

Safety Not Guaranteed (Colin Trevorrow, 2012)

Hard Candy (David Slade, 2005)

Duck Butter (Miguel Arteta, 2018)

The Artist (Michel Hazanavicius, 2011)

Another Earth (Mike Cahill, 2011)

Melancholia (Lars von Trier, 2011)

Woodshock (Kate and Laura Mulleavy, 2017)

Hanna (Joe Wright, 2011)

Snowtown (Justin Kurzel, 2011)

Aloft (Claudia Llosa, 2014)

A Fantastic Woman (Una mujer fantástica, Sebastián Lelio, 2017)

The Feels (Jenée LaMarque, 2017)

The Endless (Justin Benson and Aaron Moorhead, 2017)

Shuttle Life (Tan Seng Kiat, 2017)

I Origins (Mike Cahill, 2014)

The Taking of Deborah Logan (Adam Robitel, 2014)

Chasing Ice (Jeff Orlowski, 2012)

Manchester By the Sea (Kenneth Lonergan, 2016)

The Bar (El Bar, Álex de la Iglesia, 2017)

Mr. Roosevelt (Noël Wells, 2017)

Woman Walks Ahead (Susanna White, 2017)

The Manual (William Magness, 2017)

The Conjuring (James Wan, 2013)

Oculus (Mike Flanagan, 2013)

The Eye (Pang brothers, 2002)

August

The Overnight (Peter Brice, 2015)

Axolotl Overkill (Helene Hegemann, 2017)

Little Sister (Zach Clark, 2016)

Witchfinder General (Michael Reeves, 1968)

Secretary (Steven Shainberg, 2002)

The Quiet Earth (Geoff Murphy, 1985)

The Hunger (Tony Scott, 1983)

They (Anahita Ghazvinizadeh, 2017)

Revenge (Coralie Fargeat, 2017)

Cargo (Ben Howling and Yolanda Ramke, 2017)

Fast Times at Ridgemont High (Amy Heckerling, 1982)

Radius (Caroline Labrèche and Steeve Léonard, 2017)

17 Girls (17 Filles, Delphine Coulin and Muriel Coulin, 2011)

The Deuce of Spades (Faith Granger, 2011)

The Bank Job (Roger Donaldson, 2008)

La Jetée (Chris Marker, 1962)

Train to Busan  (부산행, Busanhaeng, Yeon Sang-ho, 2016)

As Above, So Below (John Erick Dowdle, 2014)

Liquid Sky (Slava Tsukerman, 1982)

Wild Zero (Tetsuro Takeuchi, 1999)

Multiple Maniacs (John Waters, 1970)

The Lifeguard (Liz W. Garcia, 2013)

The Umbrellas of Cherbourg (Les Parapluies de Cherbourg, Jacques Demy, 1964)

The Beales of Grey Gardens (Albert Maysles, David Maysles and Ian Markiewicz, 2006)

The Edge of Seventeen (Kelly Fremon Craig, 2016)

Salesman (Albert Maysles, David Maysles and Charlotte Zwerin, 1969)

Easy Living (Adam Keleman, 2017)

Going Back (Adam Keleman, 2010)

A Series of Acts (Adam Keleman, 2006)

Long Days (Adam Keleman, 2012)

Okja (Bong Joon-ho, 2017)

Before I Fall (Ry Russo-Young, 2017)

The Poughkeepsie Tapes (John Erick Dowdle, 2007)

Three Colours: Blue (Krzysztof Kieślowski, 1993)

Three Colours: White (Krzysztof Kieślowski, 1994)

Three Colours: Red (Krzysztof Kieślowski, 1994)

Island of Lost Souls (Erle C. Kenton, 1932)

Khadak (Peter Brosens and Jessica Hope Woodworth, 2006)

The Lure (Córki dancingu, Agnieszka Smoczyńska, 2015)

Vagabond (Sans toit ni loi, Agnès Varda, 1984)

Little Evil (Eli Craig, 2017)

September

The Harder They Come (Perry Henzell, 1972)

Isle of Flowers (Ilha das Flores, Jorge Furtado, 1989)

Beat Girl (Edmond T. Gréville, 1960)

On Body and Soul (Testről és lélekről, Ildikó Enyedi, 2017)

Village of the Damned (Wolf RIlla, 1960)

Tampopo (タンポポ, Tanpopo, Juzo Itami, 1985)

Mustang (Deniz Gamze Ergüven, 2015)

Outside In (Lynn Shelton, 2017)

Voyeur (Myles Kane, 2017)

The Land of Steady Habits (Nicole Holofcener, 2018)

Clouds of Sils Maria (Olivier Assayas, 2014)

Already Tomorrow in Hong Kong (Emily Ting, 2015)

Tig (Kristina Goolsby and Ashley York, 2015)

Shortwave (Ryan Phillips, 2016)

The Loss of a Teardrop Diamond (Jodie Markell, 2008)

Sexy Beast (Jonathan Glazer, 2000)

October

The Most Assassinated Woman in the World (La Femme la plus assassinée du monde, Franck Ribière, 2018)

I Think We’re Alone Now (Reed Morano, 2018)

The Woman Who Left (Ang Babaeng Humayo, Lav Diaz, 2016)

The Babysitter (Brian Duffield, 2017)

The Frighteners (Peter Jackson, 1996)

Emelie (Michael Thelin, 2015)

21 Grams (Alejandro González Iñárritu, 2003)

Apostle (Gareth Evans, 2018)

Phantasm (Don Coscarelli, 1979)

Banshee Chapter (Blair Erickson, 2013)

Joshua (George Ratliff, 2007)

Office (오피스, Hong Won-chan, 2015)

The Nightmare (Rodney Ascher, 2015)

The Spy Who Dumped Me (Susanna Fogel, 2018)

Before I Wake (Mike Flanagan, 2016)

The Most Unknown (Ian Cheney, 2018)

Private Life (Tamara Jenkins, 2018)

Octavio is Dead! (Sook-Yin Lee, 2018)

Leave No Trace (Debra Granik, 2018)

Cube (Vincenzo Natali, 1997)

Galveston (Mélanie Laurent, 2018)

Growing Up Coy (Eric Juhola, 2016)

Texas Chain Saw Massacre (Tobe Hooper, 1974)

November

Murder My Sweet (Edward Dmytryk, 1944)

Madeline’s Madeline (Josephine Decker, 2018)

Out of the Past (Jacques Tourneur, 1947)

Mandy (Panos Cosmatos, 2018)

Crossfire (Edward Dmytryk, 1947)

The Lobster (Yorgos Lanthimos, 2015)

Silent Light (Stellet Licht, Carlos Reygadas, 2007)

Shirkers (Sandi Tan, 2018)

Berlin Express (Jacques Tourneur, 1948)

Red Road (Andrea Arnold, 2006)

Angels Wear White (嘉年华, Vivian Qu, 2017)

Interstellar (Christopher Nolan, 2014)

The Italian Job (F. Gary Gray, 2003)

In the Aisles (In den Gängen, Thomas Stuber, 2018)

Edge of Seventeen (David Moreton, 1998)

Mad Max: Fury Road (George Miller, 2015)

Columbus (Kogonada, 2017)

I Don’t Feel at Home in this World Anymore (Macon Blair, 2017)

The Full Monty (Peter Cattaneo, 1997)

Daisies (Sedmikrásky, Věra Chytilová, 1966)

Blue My Mind (Lisa Brühlmann, 2017)

December

The Tokyo Night Sky is Always the Densest Shade of Blue (夜空はいつでも最高密度の青色だ, Yozora wa itsudemo saiko mitsudo no aoiro da, Yuya Ishii, 2017)

Michael Lost and Found (Daniel Wilner, 2017)

The Trader (Sovdagari, Tamta Gabrichidze, 2018)

Valley Girl (Martha Coolidge, 1983)

The Kindergarten Teacher (Sara Colangelo, 2018)

Everything Beautiful is Far Away (Pete Ohs and Andrea Sisson, 2017)

McQueen (Ian Bonhôte and Peter Ettedgui, 2018)

Better Watch Out (Chris Peckover, 2016)

I Feel Pretty (Abby Kohn, 2018)

Eighth Grade (Bo Burnham, 2018)

A Simple Favor (Paul Feig, 2018)

Bombshell: The Hedy Lamarr Story (Alexandra Dean, 2017)

Grandma (Paul Weitz, 2015)

Bird Box (Susanne Bier, 2018)

The Man in the Wall (האיש שבקיר‎, Evgeny Ruman, 2015)

Tout ce qui brille (Géraldine Nakache and Hervé Mimran, 2010)

Gas Food Lodging (Allison Anders, 1992)

Love, Cecil (Lisa Immordino Vreeland, 2018)

[velvetdarknessmadison]

Mark Mauriello performs Sweet Transvestite

More from this epic show!

Performed by Mark Mauriello (Frank-N-Furter) ft. Brandon Looney, Tony Dalelio, Hannah Kohn, Grace Calio, Andrew Barret Cox, Nick Moulton, Kim Onah, Danielle Lussier, Ryan Thurman, and Michelle Geosits at The Muse Brooklyn in Brooklyn, NY.

Direction by: Shira Milikowsky Choreography by: Andrew Barret Cox New orchestrations and arrangements by: Andrew Barret Cox Circus by: Angela Butch

[jorgealvarezwashington]

It's @oscars_academy_awards screening season and we're at @tribeca about to screen LUCE Directed by Julius Onah Produced by John Baker, Julius Onah, & Andrew Yang Written by JC Lee, & Julius Onah Starring  Kelvin Harrison Jr. as Luce Edgar Octavia Spencer as Harriet Wilson Naomi Watts as Amy Edgar Tim Roth as Peter Edgar Brian Bradley as DeShaun Meeks Andrea Bang as Stephanie Kim Norbert Leo Butz as Dan Towson Marsha Stephanie Blake as Rosemary Wilson Noah Gaynor as Kenny Orlicki Omar Brunson as Corey Johnson Christopher Mann as Coach Reeves Music by Geoff Barrow & Ben Salisbury Cinematography Larkin Seiple Edited by Madeleine Gavin Production Companies Dream Factory Group | Altona Filmhaus | Cinetic Media | Topic Studios Luce is a 2019 American thriller drama film. Luce had its world premiere at the Sundance Film Festival on January 27, 2019.  The film received positive reviews from critics who praised the performances of the cast and Onah's direction. (at Tribeca) https://www.instagram.com/p/B5gB3hXB6lp/?igshid=57998octyp8r

[musicoviniciusrodrigues]

Todos os filmes originais Netflix, classificados do pior ao melhor

A Netflix está investindo cada vez mais na produção de filmes exclusivos. Mais de duas centenas deles já foram lançados, e todos estão disponíveis na plataforma do serviço de streaming. A Bula avaliou as produções originais e as reuniu em uma lista, organizada do pior ao melhor filme. O ranking levou em conta as notas atribuídas aos títulos no IMDb, uma das maiores plataformas de cinema do mundo. Alguns destaques são: “Roma” (2018), de Alfonso Cuarón, que ganhou o Oscar de Melhor Filme Estrangeiro em 2019; e “O Menino que Descobriu o Vento” (2019), dirigido por Chiwetel Ejiofor. É importante lembrar que a lista não tem intenção de ser universal ou definitiva, apenas representa as avaliações recebidas pelos filmes na plataforma pesquisada.

281 — Drive (2019), Tarun Mansukhani 280 — The Ridiculous 6 (2015), Frank Coraci 279 — Zerando a Vida (2016), Steven Brill 278 — Perda Total (2018), Kyle Newacheck 277 — Dívida Perigosa (2017), Martin Zandvliet 276 — Sandy Wexler (2017), Steve Brill 275 — Seis Vezes Confusão (2019), Michael Tiddes 274 — Fica Comigo (2017), Brent Bonacorso 273 — A Barraca do Beijo (2018), Vince Marcello 272 — The Silence (2019), John R. Leonetti 271 — O Príncipe do Natal (2017), Alex Zamm 270 — Obsessão Secreta (2019), Peter Sullivan 269 — O Príncipe do Natal: O Casamento Real (2018), John Schult 268 — A História Real de um Assassino Falso (2016), Jeff Wadlow 267 — Cascavel (2019), Zak Hilditch 266 — Mudo (2018), Duncan Jones 265 — Crazy Trips: Budapeste (2019), Xavier Gens 264 — O Feitiço de Natal (2018), Bradley Walsh 263 — Pai do Ano (2018), Tyler Spindel 262 — A Babá (2017), McG 261 — Io (2019), Jonathan Helpert 260 — Blockbuster (2017), July Hygreck 259 — Bright (2017), David Ayer 258 — iBOY (2017), Adam Randall 257 — TAU (2018), Federico D’Alessandro 256 — Tribu Urbana Dance (2018), Fernando Colomo 255 — #realityhigh (2017), Fernando Lebrija 254 — Quando nos Conhecemos (2018), Ari Sandel 253 — Dude: A Vida é Assim (2018), Olivia Milch 252 — A Volta Por Cima (2019), Remy Four 251 — The Cloverfield Paradox (2018), Julius Onah 250 — Death Note (2017), Adam Wingard 249 — Feliz Aniversário de Casamento (2018), Jared Stern 248 ¬— Crush à Altura (2019), Nzingha Stewart 247 — Vende-se Esta Casa (2018), Matt Angel e Suzanne Coote 246 — Extinção (2018), Bem Young 245 — Cartão de Natal (2017), Ernie Barbarash 244 — David Brent: A Vida na Estrada (2018), Ricky Gervais 243 — Revenger (2018), Lee Seung-won 242 — O Caderno de Sara (2018), Norberto López Amado 241 — XOXO: A Vida é Uma Festa (2016), Christopher Louie 240 — Paradox (2016), Michael Hurst 239 — Special Correspondents (2016), Ricky Gervais 238 — Próxima Parada: Apocalipse (2018), David. M. Rosenthal 237 — Nu (2017), Michael Tiddes 236 — Pato Pato Ganso (2018), Chris Jenkins 235 — Polar (2019), Jonas Åkerlund 234 — Amor em Obras (2019), Roger Kumble 233 — No Ritmo da Sedução (2018), Tinge Krishnan 232 — The After Party (2018), Ian Edelman 231 — Dia da Namorada (2017), Michael Paul Stephenson 230 — Gostos e Cores (2017), Myriam Aziza 229 — Mistério no Mediterrâneo (2019), Kyle Newacheck 228 — A Princesa e a Plebeia (2018), Michael Rohl 227 — A Última Gargalhada (2019), Greg Pritikin 226 — Pelas Ruas de Paris (2019), Élisabeth Vogler 225 — Órbita 9 (2017), Hatem Khraiche 224 — Mãe e Muito Mais (2019), Cindy Chupack 223 — Duda e os Gnomos (2017), Peter Lepeniotis 222 — Suzzanna: Buried Alive (2019), Rocky Soraya 221 — Contando os Segundos (2016), Priyadarshan 220 — Castelo de Areia (2017), Fernando Coimbra 219 — Natal 5 Estrelas (2018), Marco Risi 218 — Lá Vêm Os Pais (2018), Robert Smigel 217 — O Terceiro Olho (2018), Rocky Soraya 216 — O Casamento de Ali (2018), Jeffrey Walker 215 — Campo do Medo (2019), Vincenzo Natali 214 — Juanita (2019), Clark Johnson 213 — A Escalada (2017), Ludovic Bernard 212 — Boneca Maldita (2018), Rocky Soraya 211 — A Mulher Mais Odiada dos Estados Unidos (2017), Tommy O’Haver 210 — Clinical (2017), Alistair Legrand 209 — À Queima-Roupa (2019), Joe Lynch 208 — Yucatán (2019), Daniel Monzón 207 — Anon (2018), Andrew Niccol 206 — Eli (2019), Ciarán Foy 205 — Mercy (2016), Chris Sparling 204 — O Professor de Música (2019), Sarthak Dasgupta 203 — Iris (2016), Jalil Lespert 202 — Shimmer Lake (2017), Oren Uziel 201 — Estrada Sem Lei (2019), John Lee Hancock 200 — Spectral (2016) 199 — Insana (2017), Gerard Barrett 198 — Doce Argumento (2018), Bem Shelton 197 — Missão: Moedas (2017), Emily Hagins 196 — Close (2019), Vicky Jewson 195 — Mascots (2016), Christopher Guest 194 — Loja de Unicórnios (2019), Brie Larson 193 — Fé de Etarras (2017), Borja Cobeaga 192 — Batalhas (2018), Katarina Launing 191 — Deixe a Neve Cair (2019), Luke Snellin 190 — Quem Tem Carma Nunca Alcança (2017), Nikhil Bhat 189 — The Dirt: Confissões do Mötley Crue (2019), Jeff Tremaine 188 — Ánimas (2019), José F. Ortuño e Laura Alvea 187 — O Chefe (2018), Sergio Barrejón 186 — Desaparecida (2018), Alejandro Montiel 185 — Perfeita Para Você (2018), Stephanie Laing 184 — Pequeno Demônio (2017), Eli Craig 183 — Kodachrome (2018), Mark Raso 182 — Malevolent (2018), Olaf de Fleur Johannesson 181 — Siga Pela 10 (2017), Chester Tam 180 — Asfalto de Sangue (2019), Yann Gozlan 179 — O Homem Sem Gravidade (2019), Marco Bonfanti 178 — Quando os Anjos Dormem (2018), Gonzalo Bendala 177 — Sequestrando Stella (2019), Thomas Sieben 176 — Alguém Especial (2019), Jennifer Kaytin Robinson 175 — Onde Está Segunda? (2017), Tommy Wirkola 174 — Between Two Ferns: O Filme (2019), Scott Aukerman 173 — Handsome: Um Filme de Mistério Netflix (2017), Jeff Garlin 172 — Sombra Lunar (2019), Jim Mickle 171 — Saara (2017), Pierre Coré 170 — Sonhos Lúcidos (2017), Kim Joon-sung 169 — Firebrand (2019), Aruna Raje 168 — O Banqueiro da Resistência (2018), Joram Lursen 167 — Sierra Burgess é Uma Loser (2018), Ian Samuels 166 — Slam (2017), Andrea Molaioli 165 — ARQ (2016), Tony Elliot 164 — Ibiza: Tudo Pelo DJ (2018), Alex Richanbach 163 — Sementes Podres (2018), Kheiron 162 — Les Affamés (2017), Robin Aubert 161 — O Centenário que Saiu Sem Pagar a Conta e Sumiu (2016), Felix e Mans Herngren 160 — Benji (2018), Brandon Camp 159 — Natal em El Camino (2017), David E. Talbert 158 — Rebirth (2016), Karl Mueller 157 — Eu Não Sou um Homem Fácil (2018), Eleonore Purriat 156 — O autor (2017), Manuel Martin Cuenca 155 — Noite de Lobos (2018), Jeremy Saulnier 154 — Código de Silêncio (2017), Gerard McMurray 153 — Brahman Naman (2016), Qaushiq Mukherjee 152 — Resgate do Coração (2019), Ernie Barbarash 151 — O Matador (2017), Marcelo Galvão 150 — Até que a Gente te Separe (2019), Madeleine Sami e Jackie van Beek 149 — O Aviso (2018), Daniel Calparsoro 148 — Perdoai as Nossas Dívidas (2018), Antonio Morabito 147 — Crouching Tiger, Hidden Dragon: Sword of Destiny (2016), Yuen Wo-Ping 146 — Carga Bruta (2015), Julien Leclercq 145 — Minha Primeira Luta (2018), Olivia Newman 144 — King: Uma História de Vingança (2017), Fabrice Du Welz 143 — Andar Montar Rodeio (2019), Conor Allyn 142 — O Anjo de Mossad (2018), Ariel Vormen 141 — Solo (2019), Hugo Stuven 140 — Jadotville (2016), Richie Smyth 139 — Errementari: O Ferreiro e O Diabo (2018), Paul Urkijo Alijo 138 — Tallulah (2016), Sian Heder 137 — O Ritual (2017), David Bruckner 136 — O Fotógrafo de Mauthausen (2019), Mar Targarona 135 — The Titan (2018), Lennart Ruff 134 — Pickpockets (2017), Peter Webber 133 — 15 de Agosto (2019), Swapnaneel Jaykar 132 — American Son (2019), Kenny Leon 131 — Amador (2018), Ryan Koo 130 — Crônicas de Natal (2018), Clay Kaytis 129 — O Date Perfeito (2019), Chril Nelson 128 — Steel Rain (2018), Yang Woo-seok 127 — Soni (2018), Ivan Ayr 126 — Missão no Mar Vermelho (2019), Gideon Raff 125 — The Discovery (2017), Charlie McDowell 124 — As Leis da Termodinâmica (2018), Mateo Gil 123 — Velvet Buzzsaw (2019), Dan Gilroy 122 — Mindhorn (2017), Sean Foley 121 — Farol das Orcas (2016), Gerardo Olivares 120 — Barry (2016), Vikram Gandhi 119 — Apostando Tudo (2017), Joe Swanberg 118 — 6 Balões (2018), Marja Lewis Ryan 117 — Mogli: Entre Dois Mundos (2018), Andy Serkis 116 — A Caminho da Fé (2018), Joshua Marston 115 — Fortuna Maldita (2018), Timo Tjahjanto 114 — Quem Você Levaria Para Uma Ilha Deserta? (2019), Jota Linares 113 — 4L (2019), Gerardo Olivares 112 — O Pacote (2018), Jake Szymanski 111 — Caninos Brancos (2018), Alexandre Espigares 110 — Next Gen (2018), Kevin R. Adams e Joe Ksander 109 — Step Sisters (2017), Charles Stone III 108 — Calibre (2018), Matt Palmer 107 — Árvore de Sangue (2019), Julio Medem 106 — Quatro Histórias de Desejo (2018), Zoya Aktar, Karan Johar e Dibakar Banerjee 105 — War Machine (2017), David Michôd 104 — FullMetal Alchemist (2017), Fumihiko Sori 103 — Operação Fronteira (2019), J. C. Chandor 102 — One Two Jaga (2018), Nam Ron 101 — Pequenos Delitos (2017), Evan Katz 100 — Rock My Heart (2019), Hanno Olderdissen 99 — O Natal de Angela (2018), Damien O’Connor 98 — Street Flow (2019), Kery James 97 — Hip-Hop Beats (2019), Chris Robinson 96 — El Potro: Lo Mejor Del Amor (2018), Lorena Muñoz 95 — 7 Ãnos (2016), Roger Gual 94 — Deidra e Laney Assaltam um Trem (2017), Sidney Freeland 93 — Roxanne Roxanne (2018), Michael Larnell 92 — Tal Pai, Tal Filha (2018), Lauren Miller Rogen 91 — Godzilla: O Devorador de Planetas (2018), Kobun Shizuno e Hiroyuki Seshita 90 — O Rei da Polca (2018), Maya Forbes 89 — Sonhos Imperiais (2014), Malik Vitthal 88 — Shaft (2019), Tim Story 87 — Bayoneta (2019), Kyzza Terrazas 86 — Illang: A Brigada Lobo (2018), Kim Jee-woon 85 — Maktub (2018), Oded Raz 84 — Rajma Chawal (2018), Leena Yadav 83 — Na Própria Pele – O Caso Stefano Cucchi (2018), Alessio Cremonini 82 — Nossas Noites (2017), Ritesh Batra 81 — Manhunt (2017), Andrew Sodroski, Jim Clemente e Tony Gittelson 80 — Fútil e Inútil (2018), David Wain 79 — A Noite nos Persegue (2018), Timo Tjahjanto 78 — Bird Box (2018), Susanne Bier 77 — Alex Strangelove (2018), Craig Johnson 76 — A Lavanderia (2019), Steven Soderbergh 77 — Pee-wee’s Big Holiday (2016), John Lee 74 — 1922 (2017), Zak Hilditch 73 — Minha Primeira Caçada (2018), Jody Hill 72 — Gun City (2018), Dani de la Torre 71 — O Mínimo Para Viver (2017), Marti Noxon 70 — Felicidade Por um Fio (2018), Haifaa Al-Mansour 69 — 22 de Julho (2018), Paul Greengrass 68 — Upstarts (2019), Udai Singh Pawar 67 — Gente de Bem (2018), Nicole Holofcener 66 — Lionheart (2018), Genevieve Nnaji 65 — Mudbound (2017), Dee Rees 64 — Apóstolo (2018), Gareth Evans 63 — O Último Capítulo (2018), Osgood Perkins 62 — Mademoiselle Vingança (2019), Emmanuel Mouret 61 — Joy (2019), Sudabeh Mortezai 60 — Seu Filho (2019), Miguel Ángel Vivas 59 — O Sono da Morte (2016), Mike Flanagan 58 — Inspire, Expire (2019), Ísold Uggadóttir 57 — Girl (2019), Lukas Dhont 56 — Blame! (2017) – Hiroyuki Seshita 55 — Wheelman (2017), Jeremy Rush 54 — Psychokinesis (2018), Yeon Sang-ho 53 — Elisa Y Marcela (2019), Isabel Coixet 52 — Juventude Assassina (2018), Isao Yukisada 51 — Bleach (2018), Shinsuke Sato 50 — Layla M. (2016), Mijke de Jong 49 — Sob a Pele do Lobo (2018), Samu Fuentes 48 — Paskal: Missão Resgate (2019), Cheng Kin-Kwok 47 — A Incrível Jessica James (2017), Jim Strouse 46 — High Flying Bird (2019), Steven Soderbergh 45 — O Plano Imperfeito (2018), Claire Scanlon 44 — A Sociedade Literária e a Torta de Casca de Batata (2018), Mike Newell 43 — Já Não Me Sinto em Casa Nesse Mundo (2017), Macon Blair 42 — Shirkers: O Filme Roubado (2018), Sandi Tan 41 — Amor por Metro Quadrado (2018), Anand Tiwari 40 — Jogo Perigoso (2017), Mike Flanagan 39 — Corpo e Alma (2017), Ildikó Enyedi 38 — Dumplin’ (2018), Anne Fletcher 37 — Cargo (2018), Yolanda Ramke e Ben Howling 36 — O Mundo é Seu (2018), Romain Gavras 35 — Para Todos os Garotos que Já Amei (2018), Susan Johnson 34 — Uma Terra Imaginada (2018), Yeo Siew Hua 33 — Tempestade de Areia (2016), Elite Zexer 32 — Dear Ex (2019), Mag Hsu e Hsu Chih-yen 31 — Legítimo Rei (2018), David Mackenzie 30 — Mais Uma Página (2018), Kagiso Lediga 29 — Divinas (2016), Houda Benyamina 28 — Uma Viagem à Groelândia (2016), Sébastien Betbeder 27 — Tempo Compartilhado (2018), Sebastián Hofmann 26 — Está Tudo Certo (2019), Eva Trobisch 25 — Dovlatov (2018), Aleksey German Jr. 24 — My Happy Family (2017), Nana Ekvtimishvili e Simon Gross 23 — O Pequeno Príncipe (2015), Mark Osborne 22 — A Mala e os Errantes (2017), Adam Leon 21 — Meu Eterno Talvez (2019), Nahnatchka Khan 20 — O Vazio de Domingo (2017), Ramón Salazar 19 — Durante a Tormenta (2019), Oriol Paulo 18 — A Noite de 12 anos (2018), Alvaro Brechner 17 — Os Meyerowitz: Família Não se Escolhe (2017), Noah Baumbach 16 — First They Killed My Father (2017), Angelina Jolie 15 — Um Homem de Sorte (2019), Lykke-Per 14 — Amizades Improváveis (2016), Rob Burnett 13 — O Outro Lado do Vento (2018), Orson Welles 12 — Paddleton (2019), Alex Lehmann 11 — Dezessete (2019), Daniel Sánchez Arévalo

10 — Pérolas no Mar (2018), Rene Liu

Em 2007, os universitários Jian-qing e Xiao-Xiao se conhecem em um trem que parte de Pequim para uma cidade do interior, onde ambos planejam passar o fim de ano. Os dois se apaixonam e começam a namorar. Anos depois, o filme mostra Jian-qing e Xiao-Xiao se encontrando de novo, dessa vez em um aeroporto. Com os voos atrasados, eles conversam sobre o que fizeram de errado no passado e o amor que ainda sentem um pelo outro.

9 — Okja (2017), Joon-ho Bong

A CEO de uma poderosa empresa informa ao mundo que uma nova espécie animal foi descoberta no Chile, o “superporco”. Para apresentá-lo ao mundo, a empresa envia 26 dos animais para diferentes países, onde devem permanecer por dez anos. Após o fim desse período, eles serão levados para Nova York. A jovem Mija cresceu ao lado de Okja, o superporco criado pelo avô, e está decidida a fazer de tudo para que o animal não seja tirado deles.

8 — Meu Nome é Dolemite (2019), Craig Brewer

Nos anos 1970, o comediante Rudy Ray Moore torna-se um sucesso entre a população negra norte-americana. Inserindo piadas sujas e palavrões nas histórias que ouve na rua, ele cria Dolemite, seu personagem mais famoso. Decidido a ampliar seus horizontes, Rudy resolve fazer um filme independente sobre Dolemite. Mas, além das complicações para gravar o longa, ele enfrenta dificuldades para exibi-lo no circuito comercial.

7 — O Rei (2019), David Michôd

Descontente com a realeza, o príncipe rebelde Hal dá as costas à vida real e decide viver entre os plebeus. Mas, com a morte de seu pai tirano, ele é coroado Rei Henrique V da Inglaterra, sendo forçado a viver no mundo que havia abandonado. Agora, o jovem líder terá que aprender a lidar com as pressões políticas, a guerra deixada por seu pai e seus conflitos pessoais. O filme é inspirado na peça “Henriad”, de William Shakespeare.

6 — Lazzaro Felice (2018), Alice Rohrwacher

Inspirado na história bíblica, o filme apresenta Lazzaro, um garoto muito bondoso e inocente. Apesar de ser explorado pelos familiares, ele estava satisfeito com a vida simples do campo. No entanto, após uma tragédia, Lazzaro acorda no Século 21. O rumo de sua história muda e ele começa uma jornada para reencontrar sua família e viver como antigamente.

5 — A Balada de Buster Scruggs (2018), Ethan e Joel Cohen

Trabalhando pela primeira vez com a Netflix, os famosos irmãos Coen idealizaram uma antologia faroeste. O filme reúne seis curtas com histórias diferentes, mas que ocorreram no mesmo local, a fronteira selvagem do velho oeste. Os episódios seguem os capítulos do livro fictício “A Balada de Buster Scruggs e Outros Contos da Fronteira Americana”.

4 — O Menino que Descobriu o Vento (2019), Chiwetel Ejiofor

Aos 13 anos, William Kamkwamba, do Malawi, ganhou fama em seu país em 2007, ao construir uma turbina de vento geradora de energia. A região onde William morava foi assolada por uma seca que devastou a plantação de sua família. Estudando sozinho e utilizando materiais improvisados, ele criou um projeto para fornecer água encanada e eletricidade ao seu vilarejo, privilégios aos quais a população do Malawi não tinha acesso.

3 — Mais Uma Chance (2018), Tamara Jenkins

Um casal na casa dos 40 anos tenta engravidar de várias formas. Sem sucesso, eles se submetem a várias fertilizações. Quando os recursos e opções parecem chegar ao fim, o aparecimento de uma sobrinha renova as esperanças do casal, que decide tentar novamente. Além disso, eles precisam cuidar da própria relação, que está abalada em meio a tantos acontecimentos.

2 — Beasts of No Nation (2015), Cary Fukunaga

Agu é uma criança que sofre com as consequências da guerra civil da África do Sul. Depois que seu pai é morto por militares, ele é obrigado a se tornar um soldado, abandonando a família para lutar no conflito. Para se transformar em um combatente, ele é instruído por um comandante, que o ensina as cruéis regras da disputa armada. O longa é baseado no livro homônimo do autor nigeriano Uzodinma Iweala.

1 — Roma (2018), Alfonso Cuarón

O filme foi inspirado na infância de Cuarón e conta a história de Cleo, uma jovem que trabalha como babá e doméstica de uma família de classe média, moradora do bairro Roma, na Cidade do México. Em um ano, acontecimentos inesperados afetam a rotina da família. Enquanto sua patroa, Sofia, sofre com o afastamento do marido, Cleo engravida do namorado, Fermín, que não quer assumir a criança.

Todos os filmes originais Netflix, classificados do pior ao melhor publicado primeiro em https://www.revistabula.com

[weekendwarriorblog]

WHAT TO WATCH THIS WEEKEND August 2, 2019  - LUCE, THE NIGHTINGALE, TEL AVIV ON FIRE, THE RED SEA DIVING RESORT

There are some really good movies out this week, and I want to shine a bit of focus on some of the limited releases before getting to the bigger releases.

First up, there’s Julius Onah’s LUCE (NEON), starring Kelvin Harrison Jr. from last year’s excellent Monsters and Men as the title character, a well-liked African-American high school student who seems to have it all together. His adopted parents, played by Naomi Watts and Tim Roth, love their son and are willing to give him the benefit of a doubt when one of Luce’s teachers, played indelibly by Octavia Spencer, finds something in Luce’s locker and tries convincing his parents that maybe he’s not the perfect son.

This film deals with the difficulties of being an African-American student in modern times and the expectations put on you. In Luce’s case, he was adopted after being rescued from an African war zone by his adopted parents, and they think he can do no wrong. When Luce’s teacher finds something in his locker, she thinks he’s putting on a front and fooling everyone but her.

Luce reminds me quite a bit of HBO’s Big Little Lies, a series I absolutely loved, because it’s about the interactions of these characters and their differing viewpoint on what’s happening. It also reminded me of the remarkable work done by Todd Field in his two movies, particularly In the Bedroom.

The performances all around are fantastic, making me think that this could work just as well as a play*, but there are some nice surprises in there like Andrea Bang as Stephanie Kim, a fellow student who might have been involved in an assault. I would not be remotely shocked if Spencer gets another Oscar nomination for her role in this (which ends up being far more complex a role than the one she played in the thriller Ma), but the entire cast and the way Onah tells this story is equally riveting.

What’s especially good about Luce is that it’s likely to start a lot of conversations, hopefully between white and black viewers, but it’s just one of the better adult dramas this year, and I’m sure Onah* has a strong future ahead if he keeps making movies like this. (Note: I feel a little silly because when I wrote this I didn’t realize that the movie was indeed based on a play and that Onah had directed The Cloverfield Paradox which went straight to Netflix.)

Rating: 8/10

Jennifer Kent’s THE NIGHTINGALE (IFC Films) is the follow-up to her 2014 horror film The Babadook, which is thought to be one of the best horror films of the past decade – and I’m not going to disagree with that sentiment.

The Nightingale is a very different movie, a period revenge thriller set during the days when Australia was caught in a war between its indigenous people and the British army. In this environment is Aisling Francisoci’s Clare, a young Irish ex-convict who has been bought into service by an Army officer (Sam Claflin), who will not release her after she fulfills her duties.  One night, her husband and baby daughter are killed, sending Clare on a path of vengeance. Along for that journey is Baykali Ganambarr’s Billy, an indigenous tracker who knows that being black means he’s just as at risk of getting murdered as Clare.

This is not the groundbreaking follow-up some might be expecting, but it’s still very good, and it proves what a talented filmmaker Kent is, both with the screenplay that’s authentic to the times and the way she directs

I think what surprised me most about The Nightingale was how pretty boy actor Sam Claflin is able to play a complete slimeball, which is very much against the characters we’ve seen him play before. This is as much a testament to Claflin as it is to Kent for realizing he had it in him.

Some people might try to sway you off seeing Kent’s film due to the violence, which includes brutal rape, but honestly, I’ve seen far worse from male filmmakers like Lars von Trier and Gasper Noé, and in this case, it’s keeping with the way women would have been treated during these times.

I don’t think The Nightingale will be for everyone, especially those who first became fans of Kent’s from her earlier venture into horror. This is a tough and serious drama that still has genre elements, but it leaves a lasting imprint on you, not always in a good way.

Rating: 7.5/10

Lastly, I want to draw special attention to Sameh Zoabi’s TEL AVIV ON FIRE (Cohen Media), a witty comedy set in modern-day Israel where a Palestinian soap opera filled with dysfunctional characters becomes the center of a conflict more bizarre than the one in the Middle East. It stars Kais Nashif as Salam, a consultant on his uncle’s show who gets stopped at a checkpoint by a soldier Assi (Yaniv Biton) who doesn’t like the way that the Israeli soldier is portrayed on the show. He offers Salam a few tips, and Salam’s uncle and the show’s primadonna star like them enough to promote Salam to writer… except he relies on Assi to help him with that duty.

The movie definitely veers into the world of the absurd as Assi has to contend with his wife (an avid fan of the series) and Salam is trying to reconnect with an old flame, all the while dealing with the tense situation between the Israelis and Palestinians in the region.

This movie mainly surprised me because I didn’t go into it expecting a comedy, so when it proved to be particularly witty and entertaining, I was glad I made the effort to see it.

In fact, I had a chance to speak with Zoabi last week, an interview I’ll be running soon, but I wanted to share a few tidbits from it now.

“The comedy decision was more of a natural progression as my voice as a filmmaker,” he told me. “My first feature was a comedy, and I went to school here at Columbia University and did my masters here and did my BA in Tel Aviv, which is interesting because in Tel Aviv, I studied mostly European cinema more than American cinema, so the arthouse world is more prominent in the studies there. Then you come to the U.S., and it’s a totally different business, which is entertainment. I always felt like it was interesting if you could find your voice in the middle where you can be talking about something important, but still entertain at the same time. I think gradually I realized while watching the news and the media all the time, it’s always the fighters and the victims, and there’s nothing in between, which is a daily reality that I grew up with, which is that people are funny. People don’t wake up in the morning and think, ‘Oh, my God, today I’m going to go kill five, six people.’ They wake up in the morning and they still have to do [everyday] things. These are the characters that never make it to the big media. I grew up with comedies. People in my village, my town, my family, they never talk about serious things. It’s almost like every third line has to be a joke. I always said that if I want to talk about these issues and I want to present the reality closer to what it is, I think humor is an essential part of it. It comes really natural. Once I look at a situation, it’s almost like back home when I tell my friends a serious story, everyone is waiting for the punchline. It’s not an effort. It’s something you grow up with.”

“As a writer, you evolve of course, and hopefully you get better from one film to the next, but the voice of it has always been there, and I love the creation of comedy, because it brings people together in different ways.”

“For this film in particular, it cannot be done without a comedy, because it’s all about stereotypes,” he continued. “It’s about how Palestinians see the Israelis and how Israelis see the Palestinians. The best way to deal with it is a comedy, and the seriousness comes from the soap opera.”

“I actually grew up watching more soaps than films. I grew up two TV channels, and my Mom controls the remote, so we always had to watch soap operas. Years after, with all these satellites and millions of stations, there’s more soaps in the Middle East – from Turkey, from Syria, from Lebanon, Egypt. When I grew up, we only watched Egyptian soap operas, and this soap opera in my film is almost an homage to one that was very popular about an Egyptian spy who comes to Tel Aviv. I changed the narrative and made it a woman, but what’s interesting is that when I was writing the film, I was home with my Mom watching one of her soap operas, and she was crying at a moment when I was laughing, because of the overacting. I asked, ‘Mom, do you really believe this?’ and she goes, ‘What? The movies you make are better?’”

I’ll have more from this interview soon, but if you have a chance, do check out Tel Aviv on Fire, which opens at the Quad Cinemaand the Landmark 57in New York on Friday.

Of course, the big movie of the weekend is gonna be Universal Pictures’ FAST AND FURIOUS PRESENTS: HOBBS AND SHAW, and I’ve written quite a bit about that over at The Beat, including my interview with writer/producer Chris Morgan and a box office preview. My review will be live later on Wednesday. Not sure what more I can say about the movie… I enjoyed it!

I’m also excited that A24 is expanding Lulu Wang’s THE FAREWELL nationwide this weekend after it broke into the top 10 last week. I’ve been meaning to see it again myself and probably will this weekend, but it gets my highest recommendation, especially if you want to learn more about Chinese culture and traditions than you may have been able to get out of Crazy Rich Asians. Even though this one also stars Awkwafina, it’s a very different movie and it’s a very different, more dramatic role for the actor, and I wouldn’t be shocked if she’s in the Oscar (and Indie Spirit) conversation at year’s end.

LIMITED RELEASES

Opening in L.A. this Friday at the Landmark Nuart and in New York at the Quad on August 9 is Garret Price’s Love, Antosha, co-produced by Like Crazy director Drake Doremus, which is about actor Anton Yelchin, who was at the peak of his career when his life was cut down suddenly in a bizarre accident. This is a really sold documentary that’s quite heartbreaking, and I want to write more about it and hope to soon…

Opening at New York’s Film Forum on Wednesday is Stephen Wilkes’ doc Jay Myself (Oscilloscope), a film about photographer Jay Maisel, whose six-floor building The Bank on Bowery and Spring Street has been wrapped in mystery until the filmmaker is given access just before Maisel’s planned move after selling the building.  It will open in L.A. on August 18.

One movie I had heard about out of Sundance but didn’t have a chance to see was Britt Poulton and Dan Madison’s Them That Follow (1091), which has an amazing cast that includes Oscar winner Olivia Colman, Walton Goggins, Alice Englert, Kaitlyn Dever from Book Smart, Jim Gaffigan, Thomas Mann and more. It takes place in the Appalachias in a community of snake handlers run by the Pastor Lemuel Childs (Goggins) as his daughter Mara (Englert) is getting ready for her wedding day when a secret is revealed about the church.

Lots of odds and ends after that, mostly low-profile stuff really …

Claudio Giovannesi’s Piranhas (Music Box Films) based on the novel by Gomorrah writer Roberto Saviano stars Francesco Di Napoli as a 15-year-old who lives with his mother in Naples in a neighborhood ruled by the Camorra mafia, although he has dreams of leaving, something that gets him involved with selling drugs.

Latin American filmmaker Mariano Llinás’ 14-hour epic La Flor (Grasshopper Films), which premiered at last year’s New York Film Festival, will open at Film at Lincoln Center in New York on Friday. It’se a “love letter to the history of cinema” filmed on three continents in six languages with the director making appearances to explain the structure. I just don’t have 14 hours to see this so I probably never will.

Adam Dick’s Teacher (Cinedigm) stars David Dasmatlhcian  (Ant-Man) and veteran comic Kevin Pollak that follows the downward spiral of DastMalchian’s high school English teacher who is trying to protect his students from bullies while challenging a wealthy patron in the community.

The other movies opening this weekend are Fred Grivois’ 15 Minutes of War (Blue Fox Entertainment), starring Alban Lenoir and Olga Kurylenko, based on the 1976 hostage crisis when Somali rebels kidnapped 21 French children; Sara Seligman’s crime-thriller Coyote Lake (Cranked Up),  Zach Gayne’s States (Indiecan Entertainment) starring Alex Essoe; and Diane Krueger’s psychological spy thriller The Operative (Vertical), directed by Yuval Adler.

I don’t know much about The Grateful Dead: Meet-Up at the Movies 2019, which is taking place on Thursday, August 1, although apparently, the entire Giants Stadium concert from June 17, 1991 will be screened.

STREAMING AND CABLE

Netflix’s big release of the week is RED SEA DIVING RESORT, a dramatic thriller based on true events starring Chris Evans, Haley Bennett, Michael Kenneth Williams, Alesandro Nivola and more. It deals with the true story of a group of Ethiopian Jews who are seeking refuge from the warlords in Jerusalem, so it’s up to Evans’ Israeli special agent Ari Levinson to find a way to get them out of the country. He does so by having the Israeli government lease a rundown tourist spot in Sudan, to where the Ethiopian refugees can be brought by Michael K. Williams, as the man dedicated to saving them all.

Levinson has to deal with a lot of pushback from the government, including his handler played by Sir Ben Kingsley, but he puts together a crack team of Mossad agents (including Bennett and Nivola) to make this operation happen.

I wanted to like this movie more, due to it being based on an inspirational story, but it’s tone is all over the place, sometimes to the point of ridiculousness, and bouncing back and forth from the serious to the frivolous is not something that works in this case. I just don’t think Gideon Raff, who both wrote and directed this, is a very good filmmaker, and he’s made a fairly bland movie that’s so inconsistent, it’s hard to get

It’s a shame, because this seems like an important story to tell, but when you compare it to something like the recent Hotel Mumbai… or even Terry George’s Hotel Rwanda … it’s obvious why this isn’t getting theatrical distribution.

Rating: 6/10

Also, Cindy Chupack’s Otherwood, starring Angela Bassett, Patricia Arquette and Felicity Huffman will stream starting Friday. They play three friends who are feeling forgotten on Mother’s Day, so they drive to New York to reconnect with their adult sons. (How come MY mother never has done this??!)

Also, it looks like Dear White People is back for its third season, and though I haven’t seen it, creator Justin Simien is a good dude, who I used to work with in his film publicity days, so check it out! (In other words, do as I say, not as I do.)

REPERTORY

METROGRAPH (NYC):

Opening Friday is the Metrograph’s retrospective on Czech New Wave filmmaker Luraj Herz called “In and Out of the Czechoslovak New Wave.” This continues in the tradition in the past year of rep theaters getting into the Czech New Wave, and the series includes the filmmaker’s 1978 take on Beauty and the Beast, his 1981 film Ferat Vampire, and then next week, it will screen a restoration of the filmmaker’s 1969 film The Cremator. Also Friday, Metrograph will begin screening a new 35mm print of Joan Tewkesbury’s Old Boyfriends (1979), starring Talia Shire, John Belushia, Keith Carradine and Richard Jordan. In preparation for the release of Nanfu Wang’s excellent new doc One Child Nation, the Metrograph is also showing her previous two films, Hooligan Sparrow on Saturday (with the filmmaker doing a QnA) and 2017′s I Am Another You  on Sunday.

This week’s Late Nites at Metrograph is John Carpenter’s Prince of Darkness from 1987, while Playtime: Family Matinees  will screen the 1953 monster film The Beast from 20,000 Fathoms, which was a huge influence on the making of the original Godzilla.  “Pier Paolo Pasolini: A Future Life Part II” concludes this weekend with screenings of 1970’s Notes Towards an African Orestes and Pasolini’s collaboration with Godard, 1963’s La Ricotta, which will screen with three Godard shorts, all in 35mm. Rob Nilsson’s 1996 film Chalk will play a couple more times before the weekend, as well.

FILM FORUM (NYC):

The Forum continues its amazing Burt Lancaster series with Atlantic City and Luchino Visconti’s 1963 film The Leopard on Wednesday, plus John Cassevetes’ 1963 film A Child is Waiting on Weds. and Thurs. 1983’s Local Hero screens on Friday and Saturday and more, as the series continues through August 6.

THE NEW BEVERLY (L.A.):

Tarantino’s movie is still mostly showing Once Upon a Time … in Hollywood for the next few weeks, and it’s also mostly sold out, but the Wednesday matinee James Bond movie continue today with On Her Majesty’s Secret Service (1969), George Lazenby’s only movie as Bond, but a good one nonetheless. The weekend KIDDEE MATINE is Disney’s amazing Mary Poppins (1964), and then Monday’s matinee is John Waters’ original 1988 musical comedy Hairspray.

AERO  (LA):

It now looks like the EGYPTIAN THEATRE will shut down for renovations but the Aero is back, taking up the “Highballs and Screwballs” double feature series with My Man Godfrey  (1936 )and Danger (1946)on Thursday, followed Friday with a double feature of Billy Wilder’s 1950 classic Sunset Boulevard and Preston Sturges Sullivan’s Travels (1941)… the latter two are in 35mm, the first two as DCP. Friday’s midnight movie is the original Child’s Play, and then Saturday, it’s back to “Highballs and Screwballs” with the Oscar-winning It Happened One Night  (1934) and Ida Lupino’s The Hitchhiker  (1953). On Sunday, the Art Directors Guild brings Woody Allen’s The Purple Rose of Cairo  (1985) with production designer Stuart Wurzel in person.

IFC CENTER (NYC)

Apparently, the IFC’s usual series are back… or maybe the theater finally decided to add them to its website because it looks like this began back in early July, and I didn’t see any of this on the site before this week. Anyway, I’ll try to get over the fact that I missed most of July with the August offerings. Weekend Classics: Staff Picks Summer 2019 will screen James Gray’s Two Loversthis weekend, while Waverly Midnights: Staff Picks Summer 2019 will show Stephen Chow’s Kung Fu Hustle and Late Night Favorites: Summer 2019 will show… for the 5,000th time… Ridley Scott’s Alien. (There must be a lot of demand since this seems to show at the IFC Center every month.) Also, “Abbas Kiarostami: A Retrospective” continues over the next few weeks with two more panels by film critic Godfrey Chesire and Jamsheed Akrami this Saturday and Sunday.

FILM OF LINCOLN CENTER (NYC):

“This is Cinema Now: 21stCentury Debuts” concludes on Wednesday with double features of Neighboring Sounds (a fantastic Brazil-set doc) and João Pedro Rodrigues’s 2000 film O Fantasma, as well as a double feature of Eduardo Williams’ The Human Surge and Helena Wittman’s Drift.  This week’s free double feature on Thursday is Todd Haynes’ Velvet Goldmine (1998) as well as Alex Ross Perry’s fantastic recent film Her Smell with a reception in between! And did we mention... it’s FREE?!

BAM CINEMATEK(NYC):

BAM’s series “We Can’t Even: Millennials on Film”  continues this week with Beach Rats, The Bling Ring, Tangerine, Greta Gerwig’s Oscar-nominated Lady Bird, David Fincher’s The Social Networkand the Edward Snowden doc Citizenfour, basically movies from the last ten to fifteen years that appeal to Millennials. On Saturday, the “Beyond the Canon” series will screen Haifaa Al-Mansour’s Wadja, along with Wim Wenders’ 1974 film Wind in the Cities.

MUSEUM OF THE MOVING IMAGE (NYC):

The “See It Big! 70mm” series is a bit of a knock-off of what Lincoln Center did a few years back, but some of the same movies will be shown including Stanley Kubrick’s 2001: A Space Odyssey, as well as Alfonso Cuaron’s Roma, plus more in the coming weeks. Jim Henson’s Labyrinth, starring Jennifer Connelly and David Bowie, will screen every afternoon from Thursday to Sunday as part of its “Summer Matinees: Fantastic Worlds” series. (While there, also check out the Jim Henson Exhibition!)

ROXY CINEMA (NYC)

New York’s downtown (and downstairs) arthouse will show the 1966 political thriller Torn Curtain in 35mm on Thursday, Saturday and Sunday.

LANDMARK THEATRES NUART  (LA):

This week’s Friday night midnight movie is Tommy Wiseau’s The Roomfrom 2003.

Next week, we have a bunch of wide releases including Paramount’s Dora and the Lost City of Gold, the horror anthology Scary Stories to Tell in the Dark, the female-driven crime thriller The Kitchenand more.

[quotespicture]

https://quoteswithpicture.com/luce-new-movie-quotes-once-you-know-something-you-cant-unknow-it/

Luce New Movie Quotes – ‘Once you know something, you can’t unknow it.’

Starring: Naomi Watts, Octavia Spencer, Kelvin Harrison Jr., Tim Roth, Brian Bradley, Norbert Leo Butz, Andrea Bang, Marsha Stephanie Blake

Story:

Psychological drama-thriller directed by Julius Onah, in which the story follows Luce Edgar (Harrison Jr.), a model student who was adopted by Amy and Peter Edgar (Naomi Watts and Tim Roth) from a war-torn African nation. Luce’s teacher, Harriet Wilson (Octavia Spencer), believes he is a symbol of black excellence that sets a positive example for his peers. But when he is assigned to write an essay in the voice of a historical twentieth-century figure, Luce turns in a paper that makes an alarming statement about political violence. Eager to protect her star pupil, Harriet investigates, but her discoveries force Luce’s parents to question their assumptions of who their adopted child really is and set a chain of events in motion that will change everyone’s lives forever.

  Quotes: 

  [giving a speech] Luce Edgar: When I first met my mother she couldn’t pronounce my name. My father suggested that they rename me. They picked Luce, which means light.

  Harriet Wilson: Given Luce’s background, you and Peter must have faced quite a few challenges. The language barrier, the culture shock. Amy Edgar: I mean you don’t pull a kid out of a warzone and have him turn out like Luce without a lot of help. Harriet Wilson: Which is why this is so difficult. Amy Edgar: Difficult?

  Harriet Wilson: Last week he wrote a paper in which he argued that violence was a necessary cleansing force. Amy Edgar: You teach this? Harriet Wilson: I don’t.

  [referring to Harriet’s issue with Luce] Peter Edgar: So what? Amy Edgar: Just something’s going on, and I want to be in front of it.

  Luce Edgar: She thinks I’m a poster boy, a black kid who overcame his tragic past. Amy Edgar: You really don’t like her, do you? Peter Edgar: Okay. What about a responsibility to tell the truth? Luce Edgar: What?

  [to Amy; referring to Harriet] Luce Edgar: You don’t conform to what she wants, and suddenly you’re the enemy.

  Luce Edgar: I get how writing something like that might make someone freaked out. You really think I believe that stuff? Harriet Wilson: I don’t know.

  Luce Edgar: [to Harriet] Just goes to show you, you never really know what’s going on with people.

  Peter Edgar: You threatened your teacher? Luce Edgar: I didn’t. Amy Edgar: Luce, don’t lie to me. Luce Edgar: I’m not. Amy Edgar: Luce! Luce Edgar: It’s the truth.

  Dan Towson: [to Harriet] If you Googled “model student”, Luce Edgar’s picture would come up on the computer.

  Dan Towson: Isn’t there a chance that what he wrote just went over your head? Harriet Wilson: I can tell the difference between miscommunication and provocation

  Harriet Wilson: My home was vandalized. Dan Towson: I’m not going to ruin some kid’s life because you come in here with some hunches.

  Peter Edgar: Is my son being accused of a crime here? Harriet Wilson: He sure as hell is about to be.

  Peter Edgar: This woman’s just gotten through a mental breakdown! Harriet Wilson: He’s lying, Dan! Dan Towson: Harriet!

  [referring to Harriet] Amy Edgar: This woman has some kind of vendetta against Luce.

  [referring to Harriet] Amy Edgar: This woman decided to go after him on some witch hunt.

  Amy Edgar: What happened with Miss Wislon? Stephanie Kim: There were a lot of rumors.

  Amy Edgar: Once you know something, you can’t unknow it. Stephanie Kim: I want to know, no matter what.

  Luce Edgar: It’s like I only get to be a saint or a monster. Amy Edgar: Tell me the truth?!

  What do you think of Luce quotes? Let us know what you think in the comments below as we’d love to know.

  Trailer:

[picturelockshow]

Sundance 2019: "Luce" Review

Luce explores the delicate line between the perceptions that people have of other people versus the truth of who they are. While our individual experience is on a spectrum, human nature and history has  placed its construction of race in boxes in order to “understand” each other. This film allows its main character to work within the constraints of those boxes to exploit the system in a powerful way that puts some of those ideals on trial.

Luce Edgar (Kelvin Harrison Jr.) was adopted from war-torn Eritrea by his white parents, Amy (Naomi Watts) and Peter (Tim Roth) at the age of ten. His parents helped him get through years of therapy to heal wounds from being a child soldier, and sacrifice to provide him the best life possible. Now a senior in high school, he’s fully acclimated to America and in fact, is a stellar student! He’s a beacon of light for his fellow students, especially the black population, and the weight of that is heavy on his shoulders.  

The film’s inciting incident occurs when Luce’s teacher, Harriet Wilson (Octavia Spencer), calls Amy in to talk about a discovery she’s made. After tasking the class with an assignment to write a paper in the voice of a historical figure, Luce chose the radical Frantz Fanon, who believed in hurting others for a cause. On top of that, Ms. Wilson searched Luce’s locker and found illegal fireworks that pack the same punch as a shotgun. Ms. Wilson’s motive for bringing Amy in before letting anyone else make the discovery is to protect Luce’s reputation and make sure he succeeds.  

With this information and the materials in her possession, Amy talks to her husband as soon as she gets home. This initial conversation is where both Amy and Peter start making judgements on Luce’s character, and we as audience members must make our own conclusions on the situation as well. As the story moves forward, little by little, we find out more of the big picture of what’s happening at school and see how characters in this world make judgement calls based off of pre-conceived and personal thoughts. 

Situations like Stephanie Kim’s (Andrea Bang) possible rape during a party, and Luce’s ex-teammate Deshaun (Astro) getting caught with weed in his locker are all brought to the forefront of conversation in the film. What does it mean for Luce’s reputation if he participated in either of these activities? Why does Luce get special treatment over his friends? What does it feel like to be the person that everyone looks at for hope and expects to be virtually perfect?

While the film does interrogate these questions and the American dream on a large scale, screenwriters J.C. Lee and Julius Onah nail what being black, talented, and on a pedestal in America feels like. The ideal of tokenism (the one black person in a room/organization/team/etc.) and pressure to be on is something that Luce feels constantly, and is spot on. 

Ultimately, this play turned screenplay is brought to life by its stellar cast. Kelvin Harris Jr. is undoubtedly an actor to watch! He commands the screen and authentically connects with the ability to perform in different spaces with uncanny finesse. The scenes where Octavia Spencer and Harris Jr. face off are electric and the things award nominations are made of. Tim Roth and Naomi Watts embody the sacrifice parents make for their children, and the individual struggles of giving blind trust versus questioning your child. Even the supporting cast members like Andrea Bang and Marsha Stephanie Blake (who brilliantly plays Rosemary Wilson, Ms. Wilson’s mentally ill sister) are exhilarating to watch. Their characters are real, dimensional people that you can connect with. 

The music by Geoff Barrow and Ben Salisbury swell with tension and put you on edge. It supplements the story that unfolds before your eyes in a way that hits on all cylinders. Luce is a film that you want to watch again to not only to catch what you may have missed in a scene, but also the ideals explored that you may want to ponder over more. It’s a must see!

Rating: A-

[musicoviniciusrodrigues]

Todos os filmes originais Netflix, classificados do pior ao melhor

A Netflix está investindo cada vez mais na produção de filmes exclusivos. Mais de três centenas deles já foram lançados, e todos estão disponíveis na plataforma do serviço de streaming. A Bula avaliou as produções originais e as reuniu em uma lista, organizada do pior ao melhor filme. O ranking levou em conta as notas atribuídas aos títulos no IMDb, uma das maiores plataformas de cinema do mundo. Alguns destaques são: “Roma” (2018), de Alfonso Cuarón, que ganhou o Oscar de Melhor Filme Estrangeiro em 2019; e “História de Um Casamento” (2019), dirigido por Noah Baumbach, que concorre em seis categorias do Globo de Ouro 2020. É importante lembrar que a lista não tem intenção de ser universal ou definitiva, apenas representa as avaliações recebidas pelos filmes na plataforma pesquisada.

304 — Drive (2019), Tarun Mansukhani

303 — The Ridiculous 6 (2015), Frank Coraci

302 — Zerando a Vida (2016), Steven Brill

301 — O Aplicativo (2019), Elisa Fuksas

300 — Perda Total (2018), Kyle Newacheck

299 — Dívida Perigosa (2017), Martin Zandvliet

298 — Sandy Wexler (2017), Steve Brill

297 — Quatro Histórias de Fantasmas (2020), Zoya Akhtar e outros

296 — Seis Vezes Confusão (2019), Michael Tiddes

295 — Fica Comigo (2017), Brent Bonacorso

294 — A Barraca do Beijo (2018), Vince Marcello

293 — The Silence (2019), John R. Leonetti

292 — O Príncipe do Natal (2017), Alex Zamm

291 — Obsessão Secreta (2019), Peter Sullivan

290 — O Príncipe do Natal: O Casamento Real (2018), John Schult

289 — A História Real de um Assassino Falso (2016), Jeff Wadlow

288 — Cascavel (2019), Zak Hilditch

287 — Mudo (2018), Duncan Jones

286 — Crazy Trips: Budapeste (2019), Xavier Gens

285 — O Feitiço de Natal (2018), Bradley Walsh

284 — Pai do Ano (2018), Tyler Spindel

283 — A Babá (2017), McG

282 — Io (2019), Jonathan Helpert

281 — Blockbuster (2017), July Hygreck

280 — Bright (2017), David Ayer

279 — iBOY (2017), Adam Randall

278 — TAU (2018), Federico D’Alessandro

277 — Tribu Urbana Dance (2018), Fernando Colomo

276 — #realityhigh (2017), Fernando Lebrija

275 — Quando nos Conhecemos (2018), Ari Sandel

274 — O Natal Está no Ar (2019), Leslie Small

273 — Dude – A Vida é Assim (2018), Olivia Milch

272 — A Volta Por Cima (2019), Remy Four

271 — The Cloverfield Paradox (2018), Julius Onah

270 — O Príncipe do Natal: O Bebê Real (2019), John Schultz

269 — Death Note (2017), Adam Wingard

268 — Feliz Aniversário de Casamento (2018), Jared Stern

267 — Crush à Altura (2019), Nzingha Stewart

266 — Vende-se Esta Casa (2018), Matt Angel e Suzanne Coote

265 — Extinção (2018), Bem Young

264 — Cartão de Natal (2017), Ernie Barbarash

263 — David Brent: A Vida na Estrada (2018), Ricky Gervais

262 — Revenger (2018), Lee Seung-won

261 — O Caderno de Sara (2018), Norberto López Amado

260— Dead Kids (2019), Mikhail Red

259 — XOXO: A Vida é Uma Festa (2016), Christopher Louie

258 — Paradox (2016), Michael Hurst

257 — Special Correspondents (2016), Ricky Gervais

256 — Preso em Casa (2019), Samit Basu

255 — Próxima Parada: Apocalipse (2018), David. M. Rosenthal

254 — Nu (2017), Michael Tiddes

253 — Pato Pato Ganso (2018), Chris Jenkins

252 — Polar (2019), Jonas Åkerlund

251 — Amor em Obras (2019), Roger Kumble

250 — No Ritmo da Sedução (2018), Tinge Krishnan

249 — The After Party (2018), Ian Edelman

248 — Dia da Namorada (2017), Michael Paul Stephenson

247 — Gostos e Cores (2017), Myriam Aziza

246 — Mistério no Mediterrâneo (2019), Kyle Newacheck

245 — A Princesa e a Plebeia (2018), Michael Rohl

244 — Um Passado de Presente (2019), Monika Mitchell

243 — Modo Avião (2020), César Rodrigues

242 — A Última Gargalhada (2019), Greg Pritikin

241 — Pelas Ruas de Paris (2019), Élisabeth Vogler

240 — Pássaro do Oriente (2019), Wash Westmoreland

239 — Órbita 9 (2017), Hatem Khraiche

238 — Mãe e Muito Mais (2019), Cindy Chupack

237 — Duda e os Gnomos (2017), Peter Lepeniotis

236 — Suzzanna: Buried Alive (2019), Rocky Soraya

235 — Contando os Segundos (2016), Priyadarshan

234 — O Limite da Traição (2020), Tyler Perry

233 — Castelo de Areia (2017), Fernando Coimbra

232 — Natal 5 Estrelas (2018), Marco Risi

231 — Lá Vêm Os Pais (2018), Robert Smigel

230 — Esquadrão 6 (2019), Michael Bay

229 — O Terceiro Olho (2018), Rocky Soraya

228 — O Casamento de Ali (2018), Jeffrey Walker

227 — Campo do Medo (2019), Vincenzo Natali

226 — Juanita (2019), Clark Johnson

225 — A Escalada (2017), Ludovic Bernard

224 — Boneca Maldita (2018), Rocky Soraya

223 — A Mulher Mais Odiada dos Estados Unidos (2017), Tommy O’Haver

222 — Clinical (2017), Alistair Legrand

221 — À Queima-Roupa (2019), Joe Lynch

220 — Entre Realidades (2020), Jeff Baena

219 — Yucatán (2019), Daniel Monzón

218 — Anon (2018), Andrew Niccol

217 — Eli (2019), Ciarán Foy

216 — Mercy (2016), Chris Sparling

215 — O Professor de Música (2019), Sarthak Dasgupta

214 — Iris (2016), Jalil Lespert

213 — Shimmer Lake (2017), Oren Uziel

212 — Estrada Sem Lei (2019), John Lee Hancock

211 — Spectral (2016)

210 — Insana (2017), Gerard Barrett

209 — Doce Argumento (2018), Bem Shelton

208 — Missão: Moedas (2017), Emily Hagins

207 — Close (2019), Vicky Jewson

206 — Mascots (2016), Christopher Guest

205 — Loja de Unicórnios (2019), Brie Larson

204 — Fé de Etarras (2017), Borja Cobeaga

203 — Batalhas (2018), Katarina Launing

202 — Deixe a Neve Cair (2019), Luke Snellin

201 — Quem Tem Carma Nunca Alcança (2017), Nikhil Bhat

200 — The Dirt: Confissões do Mötley Crue (2019), Jeff Tremaine

199 — Ánimas (2019), José F. Ortuño e Laura Alvea

198 — O Chefe (2018), Sergio Barrejón

197 — Desaparecida (2018), Alejandro Montiel

196 — Perfeita Para Você (2018), Stephanie Laing

195 — Pequeno Demônio (2017), Eli Craig

194 — Kodachrome (2018), Mark Raso

193 — Malevolent (2018), Olaf de Fleur Johannesson

192 — Siga Pela 10 (2017), Chester Tam

191 — Asfalto de Sangue (2019), Yann Gozlan

190 — O Homem Sem Gravidade (2019), Marco Bonfanti

189 — Quando os Anjos Dormem (2018), Gonzalo Bendala

188 — Sequestrando Stella (2019), Thomas Sieben

187 — Alguém Especial (2019), Jennifer Kaytin Robinson

186 — Onde Está Segunda? (2017), Tommy Wirkola

185 — Caído do Céu (2019), José Pepe Bojórquez

184 — Between Two Ferns: O Filme (2019), Scott Aukerman

183 — Handsome: Um Filme de Mistério Netflix (2017), Jeff Garlin

182 — Sombra Lunar (2019), Jim Mickle

181 — Saara (2017), Pierre Coré

180 — Surdo (2020), Alfonso Cortés-Cavanillas

179 — Sonhos Lúcidos (2017), Kim Joon-sung

178 — Firebrand (2019), Aruna Raje

177 — O Banqueiro da Resistência (2018), Joram Lursen

176 — Sierra Burgess é Uma Loser (2018), Ian Samuels

175 — Slam (2017), Andrea Molaioli

174 — ARQ (2016), Tony Elliot

173 — Ibiza: Tudo Pelo DJ (2018), Alex Richanbach

172 — Sementes Podres (2018), Kheiron

171 — Les Affamés (2017), Robin Aubert

170 — O Centenário que Saiu Sem Pagar a Conta e Sumiu (2016), Felix e Mans Herngren

169 — Benji (2018), Brandon Camp

168 — Natal em El Camino (2017), David E. Talbert

167 — Rebirth (2016), Karl Mueller

166 — Eu Não Sou um Homem Fácil (2018), Eleonore Purriat

165 — O autor (2017), Manuel Martin Cuenca

164 — Noite de Lobos (2018), Jeremy Saulnier

163 — Código de Silêncio (2017), Gerard McMurray

162 — Brahman Naman (2016), Qaushiq Mukherjee

161 — Resgate do Coração (2019), Ernie Barbarash

160 — O Matador (2017), Marcelo Galvão

159 — Até que a Gente te Separe (2019), Madeleine Sami e Jackie van Beek

158 — O Aviso (2018), Daniel Calparsoro

157 — Perdoai as Nossas Dívidas (2018), Antonio Morabito

156 — Crouching Tiger, Hidden Dragon: Sword of Destiny (2016), Yuen Wo-Ping

155 — Carga Bruta (2015), Julien Leclercq

154 — Minha Primeira Luta (2018), Olivia Newman

153 — Partida Fria (2020), Lukasz Kosmicki

152 — King: Uma História de Vingança (2017), Fabrice Du Welz

151 — Andar Montar Rodeio (2019), Conor Allyn

150 — O Anjo de Mossad (2018), Ariel Vormen

149 — Solo (2019), Hugo Stuven

148 — Jadotville (2016), Richie Smyth

147 — Errementari: O Ferreiro e O Diabo (2018), Paul Urkijo Alijo

146 — Tallulah (2016), Sian Heder

145 — O Ritual (2017), David Bruckner

144 — O Fotógrafo de Mauthausen (2019), Mar Targarona

143 — The Titan (2018), Lennart Ruff

142 — Pickpockets (2017), Peter Webber

141 — 15 de Agosto (2019), Swapnaneel Jaykar

140 — American Son (2019), Kenny Leon

139 — Amador (2018), Ryan Koo

138 — Crônicas de Natal (2018), Clay Kaytis

137 — O Date Perfeito (2019), Chril Nelson

136 — Steel Rain (2018), Yang Woo-seok

135 — Soni (2018), Ivan Ayr

134 — Missão no Mar Vermelho (2019), Gideon Raff

133 — The Discovery (2017), Charlie McDowell

132 — As Leis da Termodinâmica (2018), Mateo Gil

131 — Velvet Buzzsaw (2019), Dan Gilroy

130 — Mindhorn (2017), Sean Foley

129 — Farol das Orcas (2016), Gerardo Olivares

128 — Barry (2016), Vikram Gandhi

127 — Apostando Tudo (2017), Joe Swanberg

126 — 6 Balões (2018), Marja Lewis Ryan

125 — Mogli – Entre Dois Mundos (2018), Andy Serkis

124 — A Caminho da Fé (2018), Joshua Marston

123 — Fortuna Maldita (2018), Timo Tjahjanto

122 — Quem Você Levaria Para Uma Ilha Deserta? (2019), Jota Linares

121 — 4L (2019), Gerardo Olivares

120 — O Pacote (2018), Jake Szymanski

119 — Caninos Brancos (2018), Alexandre Espigares

118 — Next Gen (2018), Kevin R. Adams e Joe Ksander

117 — Step Sisters (2017), Charles Stone III

116 — Calibre (2018), Matt Palmer

115 — Árvore de Sangue (2019), Julio Medem

114 — Quatro Histórias de Desejo (2018), Zoya Aktar, Karan Johar e Dibakar Banerjee

113 — War Machine (2017), David Michôd

112 — FullMetal Alchemist (2017), Fumihiko Sori

110 — Operação Fronteira (2019), J. C. Chandor

109 — One Two Jaga (2018), Nam Ron

108 — Pequenos Delitos (2017), Evan Katz

107 — Rock My Heart (2019), Hanno Olderdissen

106 — O Natal de Angela (2018), Damien O’Connor

105 — Street Flow (2019), Kery James

104 — Hip-Hop Beats (2019), Chris Robinson

103 — El Potro: Lo Mejor Del Amor (2018), Lorena Muñoz

102 — 7 Ãnos (2016), Roger Gual

101 — Deidra e Laney Assaltam um Trem (2017), Sidney Freeland

100 — Roxanne Roxanne (2018), Michael Larnell

99 — Tal Pai, Tal Filha (2018), Lauren Miller Rogen

98 — Godzilla: O Devorador de Planetas (2018), Kobun Shizuno e Hiroyuki Seshita

97 — O Rei da Polca (2018), Maya Forbes

96 — Sonhos Imperiais (2014), Malik Vitthal

95 — Shaft (2019), Tim Story

94 — Bayoneta (2019), Kyzza Terrazas

93 — Illang: A Brigada Lobo (2018), Kim Jee-woon

92 — Maktub (2018), Oded Raz

91 — Rajma Chawal (2018), Leena Yadav

90 — Na Própria Pele – O Caso Stefano Cucchi (2018), Alessio Cremonini

89 — Nossas Noites (2017), Ritesh Batra

88 — Manhunt (2017), Andrew Sodroski, Jim Clemente e Tony Gittelson

87 — Fútil e Inútil (2018), David Wain

86 — A Noite nos Persegue (2018), Timo Tjahjanto

85 — Bird Box (2018), Susanne Bier

84 — Alex Strangelove (2018), Craig Johnson

83 — A Lavanderia (2019), Steven Soderbergh

82 — Pee-wee’s Big Holiday (2016), John Lee

81 — 1922 (2017), Zak Hilditch

80 — Minha Primeira Caçada (2018), Jody Hill

79 — Gun City (2018), Dani de la Torre

78 — O Mínimo Para Viver (2017), Marti Noxon

77 — Felicidade Por um Fio (2018), Haifaa Al-Mansour

76 — 22 de Julho (2018), Paul Greengrass

75 — Upstarts (2019), Udai Singh Pawar

74 — Gente de Bem (2018), Nicole Holofcener

73 — Lionheart (2018), Genevieve Nnaji

72 — Mudbound (2017), Dee Rees

71 — Apóstolo (2018), Gareth Evans

70 — O Último Capítulo (2018), Osgood Perkins

69 — Mademoiselle Vingança (2019), Emmanuel Mouret

68 — Joy (2019), Sudabeh Mortezai

67 — Seu Filho (2019), Miguel Ángel Vivas

66 — O Sono da Morte (2016), Mike Flanagan

65 — Inspire, Expire (2019), Ísold Uggadóttir

64 — Girl (2019), Lukas Dhont

63 — Blame! (2017) – Hiroyuki Seshita

62 — Wheelman (2017), Jeremy Rush

61 — Psychokinesis (2018), Yeon Sang-ho

60 — Elisa Y Marcela (2019), Isabel Coixet

59 — Juventude Assassina (2018), Isao Yukisada

58 — Bleach (2018), Shinsuke Sato

57 — Layla M. (2016), Mijke de Jong

56 — Sob a Pele do Lobo (2018), Samu Fuentes

55 — Paskal: Missão Resgate (2019), Cheng Kin-Kwok

54 — A Incrível Jessica James (2017), Jim Strouse

53 — High Flying Bird (2019), Steven Soderbergh

52 — O Plano Imperfeito (2018), Claire Scanlon

51 — A Sociedade Literária e a Torta de Casca de Batata (2018), Mike Newell

50 — Já Não Me Sinto em Casa Nesse Mundo (2017), Macon Blair

49 — Shirkers – O Filme Roubado (2018), Sandi Tan

48 — Amor por Metro Quadrado (2018), Anand Tiwari

47 — Atlantique (2019), Mati Diop

46 — Jogo Perigoso (2017), Mike Flanagan

45 — Corpo e Alma (2017), Ildikó Enyedi

44 — Dumplin’ (2018), Anne Fletcher

43 — Cargo (2018), Yolanda Ramke e Ben Howling

42 — O Mundo é Seu (2018), Romain Gavras

41 — Para Todos os Garotos que Já Amei (2018), Susan Johnson

40 — Uma Terra Imaginada (2018), Yeo Siew Hua

39 — Tempestade de Areia (2016), Elite Zexer

38 — Dear Ex (2019), Mag Hsu e Hsu Chih-yen

37 — Legítimo Rei (2018), David Mackenzie

36 — Mais Uma Página (2018), Kagiso Lediga

35 — Divinas (2016), Houda Benyamina

34 — Uma Viagem à Groelândia (2016), Sébastien Betbeder

33 — Tempo Compartilhado (2018), Sebastián Hofmann

32 — Está Tudo Certo (2019), Eva Trobisch

31 — Dovlatov (2018), Aleksey German Jr.

30 — My Happy Family (2017), Nana Ekvtimishvili e Simon Gross

29 — O Pequeno Príncipe (2015), Mark Osborne

28 — A Mala e os Errantes (2017), Adam Leon

27 — Meu Eterno Talvez (2019), Nahnatchka Khan

26 — O Vazio de Domingo (2017), Ramón Salazar

25 — Durante a Tormenta (2019), Oriol Paulo

24 — A Noite de 12 anos (2018), Alvaro Brechner

23 — Viver Duas Vezes (2020), Maria Ripoll

22 — Os Meyerowitz: Família Não se Escolhe (2017), Noah Baumbach

21 — First They Killed My Father (2017), Angelina Jolie

20 — Um Homem de Sorte (2019), Lykke-Per

19 — Amizades Improváveis (2016), Rob Burnett

18 — O Outro Lado do Vento (2018), Orson Welles

17 — Paddleton (2019), Alex Lehmann

16 — Dezessete (2019), Daniel Sánchez Arévalo

15 — Pérolas no Mar (2018), Rene Liu

14 — Okja (2017), Joon-ho Bong

13 — Meu Nome é Dolemite (2019), Craig Brewer

12 — O Rei (2019), David Michôd

11 — Lazzaro Felice (2018), Alice Rohrwacher

10 — Joias Brutas (2020), Benny e Josh Safdie

Howard Ratner é o dono de uma loja de joias que está cheio de dívidas por jogos de apostas. Para resolver sua situação, ele quer vender uma pedra não lapidada enviada diretamente da Etiópia. Inicialmente, Howard oferece a joia a um de seus clientes assíduos, mas depois percebe que pode lucrar muito mais indo à leilão. Só que, antes disso, ele precisa driblar os cobradores que o perseguem.

9 — A Balada de Buster Scruggs (2018), Ethan e Joel Cohen

Trabalhando pela primeira vez com a Netflix, os famosos irmãos Coen idealizaram uma antologia faroeste. O filme reúne seis curtas com histórias diferentes, mas que ocorreram no mesmo local, a fronteira selvagem do velho oeste. Os episódios seguem os capítulos do livro fictício “A Balada de Buster Scruggs e Outros Contos da Fronteira Americana”.

8 — O Menino que Descobriu o Vento (2019), Chiwetel Ejiofor

Aos 13 anos, William Kamkwamba, do Malawi, ganhou fama em seu país em 2007, ao construir uma turbina de vento geradora de energia. A região onde William morava foi assolada por uma seca que devastou a plantação de sua família. Estudando sozinho e utilizando materiais improvisados, ele criou um projeto para fornecer água encanada e eletricidade ao seu vilarejo, privilégios aos quais a população do Malawi não tinha acesso.

7 — Mais Uma Chance (2018), Tamara Jenkins

Um casal na casa dos 40 anos tenta engravidar de várias formas. Sem sucesso, eles se submetem a várias fertilizações. Quando os recursos e opções parecem chegar ao fim, o aparecimento de uma sobrinha renova as esperanças do casal, que decide tentar novamente. Além disso, eles precisam cuidar da própria relação, que está abalada em meio a tantos acontecimentos.

6 — Beasts of No Nation (2015), Cary Fukunaga

Agu é uma criança que sofre com as consequências da guerra civil da África do Sul. Depois que seu pai é morto por militares, ele é obrigado a se tornar um soldado, abandonando a família para lutar no conflito. Para se transformar em um combatente, ele é instruído por um comandante, que o ensina as cruéis regras da disputa armada. O longa é baseado no livro homônimo do autor nigeriano Uzodinma Iweala.

5 — Klaus (2019), Sergio Pablos

Pior aluno da academia de carteiros, o mimado Jasper é mandado para Smeerensburg, uma remota ilha localizada acima do Círculo Ártico. Nessa cidade, os habitantes brigam o tempo todo e não demonstram o mínimo interesse pelas cartas. Para bater sua meta de correspondências e voltar para casa logo, Jasper conta com a ajuda da professora Ava e do misterioso carpinteiro Klaus. Juntos, eles tentam alegrar Smeerensburg e apresentar aos moradores a magia do natal.

4 — Dois Papas (2019), Fernando Meirelles

O filme constrói um encontro fictício entre o então cardeal Jorge Bergoglio, hoje Papa Francisco, e o Papa Bento XVI, em 2012. Durante uma das maiores crises recentes da Igreja, o argentino Jorge Bergoglio decide pedir sua aposentadoria por discordar da forma como o Papa tem conduzido a igreja. Com a passagem já comprada para Roma, ele é surpreendido pelo convite do próprio Papa Bento XVI para visitá-lo. No encontro, eles falam sobre suas vidas e os rumos do catolicismo.

3 — Roma (2018), Alfonso Cuarón

O filme foi inspirado na infância de Cuarón e conta a história de Cleo, uma jovem que trabalha como babá e doméstica de uma família de classe média, moradora do bairro Roma, na Cidade do México. Em um ano, acontecimentos inesperados afetam a rotina da família. Enquanto sua patroa, Sofia, sofre com o afastamento do marido, Cleo engravida do namorado, Fermín, que não quer assumir a criança.

2 — O Irlandês (2019), Martin Scorsese

Frank Sheeran, “O Irlandês”, é um veterano de guerra cheio de condecorações. Ele aprendeu a matar servindo na Segunda Guerra Mundial e divide seu tempo entre os trabalhos de caminhoneiro e assassino de aluguel para a máfia. Já velho, Frank reflete sobre sua carreira no mundo do crime e seu envolvimento com os Bufalino, uma família de mafiosos. Ele também relembra seu envolvimento no desaparecimento do líder do sindicato dos caminhoneiros, Jimmy Hoffa, que era seu amigo de longa data.

1 — História de um Casamento (2019), Noah Baumbach

O diretor de teatro Charlie e a atriz Nicole estão passando por muitas dificuldades no relacionamento e decidem se divorciar. Os dois concordam em não envolver advogados, levando o processo de uma maneira amigável, mas Nicole muda de ideia e contrata uma advogada experiente, Nora Fanshaw. Surpreso com a atitude de Nicole, Charlie se esforça para pagar um famoso advogado e lutar pela custódia do filho, o pequeno Henry.

Todos os filmes originais Netflix, classificados do pior ao melhor publicado primeiro em https://www.revistabula.com