As Above, So Below
It's that rare found-footage film with a strong premise, a memorably eccentric style, and plenty of energy to burn. It's also poorly conceived, and hard…
A writer, filmmaker and a film critic since 1994, Pablo Villaça wrote for many Brazilian movie magazines. In 2002, he became the first Latin-American critic to be part of the Online Film Critics Society, being elected its first non-English speaking Governing Committee member in 2011. In 2001, he won a theater award for adapting an old children's fairytale for the stage and in 2005 he published his first book, "O Cinema Além das Montanhas". He is also currently the film critic of Cinema em Cena (www.cinemaemcena.com.br), the oldest Brazilian movie website (which he created back in 1997) and also teaches Film Theory, Language and Criticism in courses all over Brazil, teaching more than 1,500 students since 2009. In 2007, he was the only non-US film critic to be invited by the Museum of the Moving Image and The New York Times to participate on a week-long seminar on Film Criticism. In 2008, he directed his first short film, "Ethics" and in 2011, he wrote and directed his second short film, "Blind Death."
Pablo Villaça chooses his favorite piece of Roger's writing.
An FFC offers a personal take on Petra Costa's "Elena," including a video with producer Fernando Mereilles.
A remembrance of documentary filmmaker Eduardo Coutinho.
Pablo Villaça offers his perspective on "The Great Beauty."
Pablo Villaça offers another perspective on "Prisoners."
So says professional killer Jackie Cogan at one point in Killing Them Softly, the third film by New Zealander Andrew Dominik - and considering the filmmaker's efforts to establish a connection between the events in the movie and the economic crisis started in the late 2000s thanks to the greed and lack of scruples of Wall Street, it is easy to see Cogan as an ordinary employee of any company complaining about the lack of vision of his bosses and, on the other hand, the big bankers as Armani-dressing versions of the violent mobsters who inhabit the crime section of the newspapers. More than that: fearful due to the financial disaster caused by their colleagues in Wall Street, the bad guys presented by Dominik are miles away from those gangsters who used to throw hundred dollar bills on the ground or distribute tips in exchange of a smile; instead, here they need to haggle prices with professional killers and negotiate with theirs superiors before approving a sum of a thousand dollars for framing someone.
After discovering that a cancer will take her life within a few months, Ann, a young 23 years-old, makes two important decisions: to hide the disease from everyone (including her husband and their two young daughters) and to draw up a list of things she wants to do before her death - and her wishes include "making love to another man" and "causing someone to fall for me." This is the point at which "My Life Without Me," directed and written by Isabel Coixet, risks scaring away its viewers: the attitudes of Ann show, yes, selfishness and immaturity.
Mirrors and reflections have always been an obsession for filmmakers from all over the world - something that came as a result of the wealth of symbolism that they inspire, of course, but also of the psychological development all of us go through in order to recognize ourselves as individuals. (That led, for instance, to Jean-Louis Baudry's brilliant analogy of the film spectator as someone regressing to the "Mirror Stage" described by Lacan). From Buñuel to Hitchcock and from Fritz Lang to Tarkovsky, directors from different eras and different styles have used doubles as a thematic basis of one or more of their works -- but perhaps it has seldom been used so intensely and organically as in Darren Aronofsky's "Black Swan."
On the subway, the beautiful woman returns his gaze with a smile. Noticing the desire of the man before her, she crosses her legs suggestively, indicating an awareness of what's happening while waiting for a more direct approach. Gradually, however, something occurs to her: the man is not smiling nor showing any sign that he's enjoying the pleasure of mutual seduction, seeming only interested in establishing the possibility of sex before making any move. Suddenly, the situation becomes unbearably uncomfortable and the girl, not understanding exactly what goes on his mind, runs out of the car, fearing the cool evaluation of that look.
I remember my father's face, but not his voice. If I close my eyes I can perfectly see his expression of disapproval this one time when I was five years old, and another one of deep affection, at more or less the same time, but I cannot remember what he said - or even if said something - in each of those moments. What I do know beyond any doubt is that The Tree of Life, a masterpiece of filmmaker Terrence Malick, kindly led me to these reminiscences through his own philosophical reflection on human nature and our history on this planet. In this sense, the film represents a deeply religious experience for atheists, humanists, and especially film lovers.