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O ESTRANHO QUE NÓS AMAMOS

Don Siegel Estados Unidos, 1971
To write off Siegel's Beguiled as a politically incorrect relic — or, in the words of Variety's Owen Gleiberman's side-swiping Cannes Varietydispatch, a "mediocre Tennessee Williams play staged by Sam Peckinpah as a third-wave feminist horror film" — is to avoid wrestling with one of the true heavyweight American movies of the '70s. Because the original The Beguiled is a paradoxical and problematic masterpiece that even a filmmaker with Coppola's gifts would be hard-pressed to improve.
junho 22, 2017
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Siegel's acidic pastoral is a candidate for the hard-bitten journeyman auteur's finest film, though it's got stiff competition... The Beguiled‘s female avengers may have kept the film from the Western canon, but make no mistake this has all the fire and fury of John Ford, Nicholas Ray, Budd Boetticher and Andre De Toth wrapped in one bandaged leg.
abril 5, 2017
Bright Lights Film Journal
While the premise of an injured soldier recuperating in a house full of smitten women seems ripe for male-fantasy debasement, the film is deeply interested in the psyches of its female characters. Each key female role has a compelling, well-established personality.
novembro 20, 2013
For the film's first half, with some suspenseful near-discoveries, The Beguiled seems to be setting itself up for an extended climactic battle in which the women, their hearts and loins melted by John's seductive stoicism, must defend him against Confederate marauders. But instead the film grows more claustrophobic—visitors stop coming to the house, leaving only the interior battle. Martha's righteousness and repression turn out to be deadlier weapons than any musket—as does her hacksaw.
fevereiro 11, 2013
The story may sometimes come off as a ribald soldiers' tale that Siegel, born in 1912, had been awaiting a sexual revolution to tell; still, his intense, intelligent breakdown of the film's wild outbursts reveals subtleties of love, despair, and shame beneath the schematic luridness.
janeiro 1, 2009
Hobbling on crutches with pistol in hand after his amputation, Eastwood's castrated blue-belly is as much of a sharp fraying of his screen image as Siegel's keen staging of hothouse hysteria is of his, men as accomplices in unleashing the women's force, the camera not in fear or hate, but in awe.
janeiro 14, 2007
It's a Gothic premise and a lush, viny atmosphere, but Siegel's rhythms favor the staccato strains of primal instincts over restraint: as period pieces about the repressed sexual urges of laced-up schoolgirls go, it's a far more libidinous precursor to a certain Peter Weir movie. (Picnic at Hanging Cock, anyone? Um, strike that.) But it climaxes too soon; Act Three can't maintain proportion once the passions Eastwood unsuccessfully manipulates boil over into fervid release.
março 15, 2006
Don Siegel and Clint Eastwood took time out from their popular series of Universal programmers for this very personal exercise in American gothic (1971)—one that should have played the art houses rather than the drive-ins... The film is hushed and evocative, full of menace and barely suppressed hysteria.
janeiro 1, 1980
Combining the conventions of both Western and Grand Guignol chiller, and often directed as if it were an art movie, this is one of Siegel and Eastwood's strangest - and most beguiling - collaborations... Beautifully shot by Bruce Surtees, carefully paced, it's a haunting, elegant work that seems to have influenced the troubled sexuality of Eastwood's own Play Misty for Me and Tightrope.
janeiro 1, 1980