By ROBERTO NORITOMI: Commentary on Spike Lee's film that depicts police violence against African-Americans.
By ROBERTO NORITOMI: Commentary on the classic film of political cinema directed by Francesco Rosi.
By Roberto Noritomi: Commentary on Yasujiro Ozu's Classic Film
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 Roberto Noritomi
Commentary on the work of two exponents of contemporary Chinese cinema.
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 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 ROBERTO NORITOMI: Commentary on Spike Lee's film that depicts police violence against African-Americans.
By ROBERTO NORITOMI: Commentary on the classic film of political cinema directed by Francesco Rosi.
By Roberto Noritomi: Commentary on Yasujiro Ozu's Classic Film
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 Roberto Noritomi
Commentary on the work of two exponents of contemporary Chinese cinema.
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 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.
