ricardo-morel-oliveira

I watched the documentary before the biopic "Me, Tonya" (2017), starring Margot Robbie (who does not know who she is ?!), she is the villainous girlfriend of the Joker, with ardent fandom, and dangerous Harley Quinn, nominated for an Oscar for Best Actress. I've seen doc before and then know how much Hollywood has grafted onto this movie based on real facts (actually, I have the impression that it's always unrealistic facts ...). Production ESPN, quality ESPN, a valid entertainment to feel a fraction of the rivalry between skaters Tonya Harding and Nancy Kerrigan and realize how desperate to be the best of the best (golden medal!) drives the worst we have in us. Greed. Cheating. Crime. And already notice: she is not innocent, who knew after, well, let's be honest (right, Tonya?!), knew before. She did it ... she did it (and OJ too).

ps: translation brazilian portuguese/english made by Google (blame on it)

I do not know how CinePoetry manifests itself in the illusory and dreamlike 24 frames per second leaving the solid material, the film, to surround us and spread and dazzle. The theoreticians of vast wisdom have not yet reached a single and firm conclusion on the subject, which is, however, too subjective (which must have its core of understanding in the way of seeing, in the way of doing), but , I believe that Norman McLaren, a scottish filmmaker based in Canada who directed the film, which basically comes down to be a couple formed by light and shadow dancing and dancing and dancing all over the pitch for 13 minutes as if they floated ethereal (these ghosts in the infinite ball) , well, he certainly in the daily practice of manipulating the frames must have bumped into some cinematic cosmic epiphany that, in fragments, either consciously or unconsciously, he inserted here and there in what for me is his masterpiece, "Pas De Deux" ( 1968), an animation that does not detach from my brain with its timed revolt rehearsed in a beautiful ballet tête-à-tête with only two characters on the Big Screen - one he one she, and, sincere, that's enough (two that are two that are one).

ps: translation brazilian portuguese/english made by Google (blame on it)

Today, Nathalia Dill (DJ Érika) is one of the top actresses in the country, invariably in the trendings. Fame & Fortune. Then people wonder when they will make "Artificial Paradises - Part 2" to enjoy a little caron in their aura of good energies. I've heard someone giving such a suggestion out there in the online forums of movie buffs (where bullshit ends in death duels). But why would they do a second movie ?! There is no reason. The heroic journeys were closed and the theme is not exactly that of one of those Paulo Gustavo style comedies that can recycle jokes from year to year to continue being blockbuster. Dramas at Brazilian Cinema are more to flop than hit. Minimum installment is captivated and interested. "Artificial Paradises" may not be a pearl like "Central Station", our cinematic jabuticaba, but it is not a total misfortune to be burned in the public square. There is something that can trap the viewer, even if it is only the sex scenes of the trio of protagonists, since the nudity convince the public to give a chance to the plot even if it is lousy, or the unpleasant consequences of the exaggeration in drugs (bad trips they have an end).