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990 Avaliações

Em Chamas


Dirigido por Lee Chang-dong
Coreia do Sul, 2018
Drama, Mistério


Baseado no romance japonês “Barn Burning” de Haruki Murakami, o filme foca o triângulo amoroso formado por dois rapazes, Ben e Jong-su, e uma garota, Hae-mi.

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Em Chamas Dirigido por Lee Chang-dong
Jongsu doesn’t really understand Haemi’s interest in the ‘Great Hunger’, the Kalahari bushmen’s quest for meaning in life, but the way his resentment of Ben’s privilege and confidence evolves into paranoia and rage matches a global, inchoate anger, especially amongst the young.
January 31, 2019
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It’s a highly discomfiting, richly confounding take on the thriller, with wealthy, viciously indifferent maybe-villain Ben (Steven Yeun) as unsatisfying an object of prey as Jeon Jong-soo’s Haemi is as an object of romantic affection.
January 05, 2019
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Lee Chang-dong’s most alluring film depicts a gauzy youthful ardor that foments obsession and imbues an otherwise desultory aspiring writer with a sense of purpose.
January 02, 2019

O que as pessas estão dizendo?

  • Matthew Martens's rating of the film Em Chamas

    Rather than sweat fidelity to Murakami, Faulkner, or Fitzgerald, Lee, in his most galvanic feature since Secret Sunshine, treats them the same way he treats everyday objects and facial expressions, siphoning a charge from each--while gulping great gobs of current from Steven Yeun's yawn--to power a battery of symbol and suggestion, on which his protagonist's hunger and need greedily feed.

  • rado's rating of the film Em Chamas

    First disappointment from the master. The emptiness between modern and rural country could have been a short film. There is beauty in things unsaid but there is a limit too. "Come Rain, Come Shine" was a bolder exercise in minimalism.

  • HKFanatic's rating of the film Em Chamas

    "Some things sure can sweep me off my feet/Burning down the house." Lee Chang-dong's latest is a moody and methodically paced revenge thriller, and easily one of the best examples of its kind since Na Hong-jin's "Yellow Sea." Even in a crowded film year, its depiction of economic rage and sexual obsession holds a unique staying power. Somehow Steven Yuen turned a yawn into one of my favorite film moments of 2018.

  • Daniel S.'s rating of the film Em Chamas

    **1/2. Strange, I saw this movie last night and was then pretty sure that it would be growing on me during the night. In fact, no. Maybe the story and the symbols were too artificial to make a durable effect on my soul or maybe was I simply too tired. Anyway, I don't have the material time to give it a second chance now. A DVD zone last shelf of my library.

  • ig_____or's rating of the film Em Chamas

    A (very) slow-burn, that begins on a bright and romantic-ish mood but moves towards something a little more mysterious and intriguing. The end... I didn't see it coming. It's funny: the film is a constant enigma itself, you're not aware that you're into a thriller until the last half-hour, I think, mostly because it all feels very dreamy and free.

  • ara's rating of the film Em Chamas

    out of the murakami film adaptations i have seen, i feel this one has been the best at representing what it feels like to be in that world. i don't understand the comments saying this film was misogynist. i think we did get a very idealized and distant version of hae-mi, that was very much only seen through the lens of the main character, but the film was from his perspective. romanticization =/= misogyny (cont.. )

  • Jason's rating of the film Em Chamas

    Lee asserts that BURNING was born of his concerns regarding the impotent rage of young people, but it is equally about how we are unable to understand one another; it is each of us who are the mystery. Never before have the people this great director situates before our gaze been so obscured by their faces. It is our unknowing that makes localized eruptions of violence, distinguished by futility, so disconcerting.

  • Carlos Filipe Freitas's rating of the film Em Chamas

    The resplendent soundtrack, which includes a Miles Davis’ tune, and the naturalistic performances make a significant contribution to the success of this achingly poignant meditation on passion, in its strangest forms.

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