ylcox

Homem com H is one of those films that doesn't just tell a story - it lives inside it. Elegantly and bravely directed by Esmir Filho, the movie dives into the essence of Ney Matogrosso, delivering a visual, musical, and emotionally powerful experience.

From the very first moments, the narrative shows great care: the film has no unnecessary pauses or dragging scenes. On the contrary - each moment pulses with energy, echoing the restless and rebellious rhythm that has always defined Ney. This is a biopic that avoids clichés, choosing instead a more artistic, performative, and poetic path. In this sense, Azul Serra's cinematography deserves special praise: it not only captures concerts and behind-the-scenes moments beautifully but turns them into living canvases of expression and resistance.

The standout, however, is Jesuíta Barbosa's performance. He doesn't imitate Ney - he becomes him. From body language to his soft yet firm voice, from the stage presence to intimate silences, Jesuíta conveys the raw and delicate strength of one of Brazil's greatest artists. His portrayal is undoubtedly one of the most powerful in recent Brazilian cinema.

The film succeeds in portraying Ney's public and private persona with sensitivity, especially his courageous stance during Brazil's military dictatorship. It's moving to see how Ney, through art and sensuality, challenged censorship, repression, and prejudice during such a fearful time.

That said, some aspects could have been explored in greater depth. Ney's relationship with Marco de Maria, for instance, is briefly mentioned but underdeveloped - the same goes for his connection with Cazuza and the impact of the HIV/AIDS epidemic, which deeply affected his artistic generation. These are glimpses that deserved more time and emotional depth.

Still, Homem com H is a necessary film - for fans, for those unfamiliar with Ney, and especially for a country still in need of revisiting its wounds and recognizing its symbols of freedom. Ney Matogrosso was - and is - one of those symbols. And here, his story receives the tribute it deserves: visceral, intense, artistic, and true.

"Anora" is a film that, at first glance, seems to lack development at any point. The story feels shallow and drags on without a clear purpose, leaving the impression that there's simply not enough substance to be told. Director Sean Baker leans heavily on aesthetics and chaos but neglects to craft a narrative that truly engages.

The protagonist, played by Mikey Madison, shows noticeable growth throughout the film. In the beginning, her performance is far from Oscar-worthy, lacking any particularly grand or memorable moments. However, as the plot progresses-at least to some extent-Madison delivers a solid and convincing performance, ultimately becoming one of the film's few redeeming aspects.

The biggest issue with Anora is its wasted potential. Baker spends too much time on club scenes, partying, drug use, and other excessive sequences that add little to the story. Instead of building a richer, more engaging narrative, the film gets lost in a cycle of unnecessary moments that could have easily been replaced by meaningful storytelling.

Overall, I wouldn't recommend Anora. It has its moments, and Madison shines when given the chance, but the lack of a well-developed story and the overuse of redundant scenes weigh it down. It was a decent film-but it could have been so much better.

Conclave, directed by Edward Berger, is a cinematic spectacle that turns the election of a new Pope into a gripping political thriller. With an engaging narrative and a tense atmosphere, the film delves into the Vatican's inner workings, where secrets, alliances, and ambitions shape the future of the Church.

The cinematography is one of its greatest strengths, masterfully using light and shadow to create an aura of mystery and claustrophobia inside the Sistine Chapel. Every frame is meticulously crafted, making the audience feel the weight of the decision being made.

Beyond its impeccable visuals, Ralph Fiennes' performance as Cardinal Thomas Lawrence is nothing short of extraordinary. He delivers a subtle yet deeply compelling portrayal, conveying the immense pressure and moral dilemmas of his character through nuanced expressions and restrained gestures. His magnetic presence anchors the story, making it impossible to look away.

Despite its brilliance, the film could have explored some secondary characters more thoroughly, such as Sister Agnes, whose intriguing presence lacks deeper development. Similarly, a few cardinals are introduced with potential but are left in the background, missing the chance to add further depth to the narrative.

Nevertheless, these minor shortcomings do not diminish Conclave's impact. With its intense atmosphere, thought-provoking story, and a remarkable lead performance by Ralph Fiennes, this is a film that deserves to be seen.