cinema, futebol e resenha (nem segue se é mimizento, eu prefiro) @SPFC https://xitter.gq/t.co/FHQDftIvj9
Joined April 2018
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Se vc for fã de Scorsese, Tarantino, Coen Bros. Woody Allen, Malick, Spike Lee e PTA (todos os principais alvos dos hipsters cinéfilos atuais) vc será muitíssimo bem-vindo independente de qualquer visão de mundo que tiver. O restante, terá que conquistar minha admiração.
Toda vez com atores nessas tiers parecem q acompanham filmes só de 1990 pra cima. Cadê Brando? Cagney? Chaney? Quinn? Nicholson? Hoffman? Hackman? Sean Penn? Duvall? Mifune? Kinski? Depardieu? Olivier? Hopkins? Steiger? Borgnine? Caan? Bogart? Robinson? Lorre? Nolte? Welles?
Hot take: os melhores filmes do De Palma são os q criticos/cinéfilos de Twitter 2010+ adoram revisionar negativamente: Scarface, Intocáveis, Pecados de Guerra ou os q nunca tiveram amor merecido: Olhos de Serpente, Hi, Mom, Fantasma do Paraiso...
Meu top 12 De Palma (o terceiro melhor cineasta da Nova Hollywood) apenas Um Tiro não é op, mas todos incríveis
Top Bad Dates With De Niro retweeted
#Noirvember Day 6 recommendation: SCARLET STREET (1945) by Fritz Lang.
SCARLET STREET (1945) is one of Fritz Lang's nastiest, most psychologically unsettling films.
Edward G. Robinson plays a middle-aged cashier whose infatuation with a young woman gradually leads him down a path of destruction. Joan Bennett plays a brilliant femme fatale.
Lang's German Expressionist background is particularly evident here. He used shadows to externalize urban isolation and claustrophobic interiors.
SCARLET STREET (1945) is an absolute essential for anyone interested in classic film noir.
#Noirvember Day 5 recommendation: I AM WAITING (1957) by Koreyoshi Kurahara.
One of the pioneering films of Japanese Noir, or Nikkatsu Noir. The film follows a former boxer who falls for a club hostess trying to escape her gangster employer.
In the 1950s, Nikkatsu (Japan's oldest major film studio) sought to distinguish itself from its competitors by producing films centred on rebellious youth, sexuality, crime, modernity and Western-influenced lifestyles.
Drawing on international noir traditions, these films also reflected the anxieties of postwar Japanese society. The characters in I AM WAITING (1957) seem to inhabit precisely this transitional world.
Despite Kurahara's influences from American and European Noir, I AM WAITING (1957) is less a conventional crime noir than a melodrama with distinctly noir sensibilities.
