Movies Reviews: The Rules to Qualify for Love

07 dezembro12:012017Imprimir
By Roger Costa
LOVELESS
“Even the filthiest home beats the streets; no child wants to live there, they always come back”, a detective advises the mother of a runaway boy during a very explanatory questioning session. A few minutes back, right on the opening sequence, we understand the detective’s statics could be exactly the case in this situation. Prolific Russian Director Andrey Zvyagintsev (“Leviathan”) cuts to the chase introducing an uncomfortable confrontation between a young couple on the verge of their separation, concerning their share on the apartment, and surprisingly shocking whether they’re sending the kid to boarding school or using other method to, literally erase him out of their lives. As alarmed as the audience is, the camera moves to the boy’s room, and ends with a close-up on the tears rolling on the boy’s face as he’s listening to the consequences of his parents’ breakup. This striking moment and abandonment reaction will persuade the entire narrative, as the boy vanishes the next morning, only to be noticed two days later, when his mother calls the authorities. During this time, both parents engaged on their usual activities, pursuing their goals and the arrangements with each of their new partners, she is seeking to marry an older rich man, and he’s waiting for a newborn with his younger lady. They make clear they don’t want to have the boy in their “new” lives, as they’re moving on. Though it’s obviously tragic and difficult to understand such contempt, the film subtly examines their motives and how they became stone-hearted, visiting their past through encounters and conversations. The vanishing investigation intensifies, building suspicions and doubts while reflecting on its effects, which offers a chance to evaluate the rejected relationship of family loving. Winner of the Jury Prize at Cannes and named Best Film at London Film Festival, as well as among this year’s top Foreign films chosen by the National Board of Review, Zvyagintsev conceived a very intense, realistic, cold-atmosphere moral puzzle that will certainly haunt you for days. (A Sony Pictures Classics Release. Now playing at The Quad Cinema NYC.)
ON THE BEACH AT NIGHT ALONE
On the introduction, an actress wanders the streets of a city outside Seoul, a place she seems to know well, yet she’s contemplating and exploring details, the breezy winds, the foggy landscape, the sound of the ocean at a distance, her connection to the place, the food markets, the traditions, her passion for sausages, while questioning her career and aspirations, her insecurity, plans for the future, to move into a new city and longing for the return of her lover, a married filmmaker. After talking to film workers on the beach, she vanishes carried away by a stranger. The second act starts with her luminous presence inside a movie theater as she finishes a projection. She meets an acquaintance and they engage on a serious conversation that will examine the entire situation and the rumors about her lifestyle. They are led to other encounters at a small cafe, then at a house where secrets and philosophies will be exposed giving form to a masterly crafted study on the troubles of love, the search for it, its absence, its mystery and ambiguity, co-dependence, desire and lust. Min-hee Kim gives a fabulous performance as the protagonist, which gathered her the Silver Bear Award of Best Actress in Berlin. South Korean auteur Hong Sang-soo tells this story, based on the scandal of his own marriage, with provocative humor and observational sensibility, using beautifully impressive shots that capture the poetic, melancholic yet turbulent atmosphere of the actress’ visit to the beach area. The lovely soundtrack is another catch in this highly emotional, tender study on human desires, passion and regret. And here the director offers some of his best perspectives on the confusions of love. How can someone seek something you can’t see? (A Cinema Guild Release. Runs December 15-17 at George Eastman House, Rochester, NY. Screening December 22 at MoMA as part of The Contenders Series, the annual showcase of best films of the year selected by the Museum.)
Editorias:
Mundo do CinemaNotícias

Fonte: Brazilian Press

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