the fakers
By Flavio Aguiar: While the farces unfold, corpses accumulate, old age and the future are trampled on… along with reason.
10/05/2020
By Flavio Aguiar: While the farces unfold, corpses accumulate, old age and the future are trampled on… along with reason.
By Walnice Nogueira Galvão: Commentary on films inspired by these three classics of English literature.
By José Geraldo Couto:
Comment on the filmmaker of O pagador depromises
By Roberto Noritomi* Commentary on the film by Jorge Bodanszky and Orlando Senna. The film Iracema: uma transa amazônica still has a lot to say for today. More than its acid irony, so convenient to cut the
By Gilda de Mello e Souza:
Commentary on the historical film by Joaquim Pedro de Andrade
By Lincoln Secco:
Commentary on the classic film by Ingmar Bergman, awarded the Golden Bear at the Berlin Film Festival.
By Walnice Nogueira Galvão:
Commentary on the film by Win Wenders that features hitherto inactive and “forgotten” Cuban musicians
By Julio Cortazar:
Commentary on Buñuel's film made in Mexico in 1950, winner of the best director award at the Cannes festival.
By Afrânio Catani
A script written at age 18 and never filmed by Glauber Rocha
By Roberto Noritomi
Commentary on the work of two exponents of contemporary Chinese cinema.
By Daniel Pavan
Commentary on the film by Laís Bodanzky.
By Roberto Noritomi
Commentary on three European films that address transformations in the world of work.
By Roberto Noritomi
Commentary on the new film by English filmmaker Ken Loach
By Lucas Fiaschetti Estevez
Commentary on the work and intellectual trajectory of the Italian filmmaker and complete retrospective program Fellini Il Maestro
By José Geraldo Couto
Commentary on the film Les Miserables – by Ladj Ly – which shared the Jury Prize with Bacurau at the Cannes festival and competes for France for the Oscar for best foreign film.
By Katia Gerab Baggio
What is most relevant in the documentary Democracy in vertigo is the strength of the narrative that lays bare – even more, that demonstrates – that in 2016 there was a coup d'état in Brazil.
By Roberto Noritomi
It is not enough to wrap a critical theme in a conventional guise to obtain a radical critical result. The film Parasite, by protecting the viewer and restricting its scope of meaning, ends up dissipating any spark of change.
By Fernão Pessoa Ramos
The brutality of the image in the destruction exercised by Western civilization and consumerist capitalism (this article is being republished due to editing errors) .
By Caio Vasconcellos
the telenovela Brazil Avenue , generally associated with Lulism, is based, at its crucial moment, on the ideological bases of a kind of conservative or restorative reaction
By Ricardo Pagliuso Regatieri
For the first time since the 1950s, South Korean society is socially polarized, increasing the perception that the open doors to social ascension are closing and intensifying the “class struggle”.
By Flavio Aguiar: While the farces unfold, corpses accumulate, old age and the future are trampled on… along with reason.
By Walnice Nogueira Galvão: Commentary on films inspired by these three classics of English literature.
By José Geraldo Couto:
Comment on the filmmaker of O pagador depromises
By Roberto Noritomi* Commentary on the film by Jorge Bodanszky and Orlando Senna. The film Iracema: uma transa amazônica still has a lot to say for today. More than its acid irony, so convenient to cut the
By Gilda de Mello e Souza:
Commentary on the historical film by Joaquim Pedro de Andrade
By Lincoln Secco:
Commentary on the classic film by Ingmar Bergman, awarded the Golden Bear at the Berlin Film Festival.
By Walnice Nogueira Galvão:
Commentary on the film by Win Wenders that features hitherto inactive and “forgotten” Cuban musicians
By Julio Cortazar:
Commentary on Buñuel's film made in Mexico in 1950, winner of the best director award at the Cannes festival.
By Afrânio Catani
A script written at age 18 and never filmed by Glauber Rocha
By Roberto Noritomi
Commentary on the work of two exponents of contemporary Chinese cinema.
By Daniel Pavan
Commentary on the film by Laís Bodanzky.
By Roberto Noritomi
Commentary on three European films that address transformations in the world of work.
By Roberto Noritomi
Commentary on the new film by English filmmaker Ken Loach
By Lucas Fiaschetti Estevez
Commentary on the work and intellectual trajectory of the Italian filmmaker and complete retrospective program Fellini Il Maestro
By José Geraldo Couto
Commentary on the film Les Miserables – by Ladj Ly – which shared the Jury Prize with Bacurau at the Cannes festival and competes for France for the Oscar for best foreign film.
By Katia Gerab Baggio
What is most relevant in the documentary Democracy in vertigo is the strength of the narrative that lays bare – even more, that demonstrates – that in 2016 there was a coup d'état in Brazil.
By Roberto Noritomi
It is not enough to wrap a critical theme in a conventional guise to obtain a radical critical result. The film Parasite, by protecting the viewer and restricting its scope of meaning, ends up dissipating any spark of change.
By Fernão Pessoa Ramos
The brutality of the image in the destruction exercised by Western civilization and consumerist capitalism (this article is being republished due to editing errors) .
By Caio Vasconcellos
the telenovela Brazil Avenue , generally associated with Lulism, is based, at its crucial moment, on the ideological bases of a kind of conservative or restorative reaction
By Ricardo Pagliuso Regatieri
For the first time since the 1950s, South Korean society is socially polarized, increasing the perception that the open doors to social ascension are closing and intensifying the “class struggle”.