Julia Seraphim

Jeanne du Barry was of humble origins and, through her beauty and intelligence, managed to transcend the social barriers of the time to become the mistress of King Louis XV of France. Her story shows that, even in a rigidly stratified society, it is possible to challenge conventions and conquer prominent positions. Jeanne’s love life, particularly as a royal lover, was the subject of public attention and scrutiny.

She challenged the social norms of the time, which expected women to be submissive and chaste. And she lived her life by her own rules, seeking her own happiness and pleasure. Her story underscores the importance of sexual freedom and individual expression, especially in the context of the struggle for women’s rights and the acceptance of sexual diversity. In today’s world, where freedom of expression and sexual freedom are key issues, Jeanne du Barry remains a relevant figure who inspires us to embrace our individuality and reclaim our personal freedom.

The biographical feature film chosen to open the 76th edition of the Cannes Film Festival, scripted, directed, produced and starring French Maïwenn, alongside Johnny Depp, generated divergent opinions. However, it is important to highlight that the existence of lawsuits involving actors can have a negative impact on the film. Controversies, accusations and questionable behavior could result in boycotts, criticism and financially affect the production, which had the biggest budget of the year 2022 in France, exceeding 20 million euros. It is essential to recognize this reality and understand the delicate line that separates the cinematographic work from its cast. But it is precious to question such connivance with the powerful of the world film industry.

The grandeur of the film is highlighted by the stunning locations, mainly by the sumptuous rooms of Versailles, where most of the scenes are filmed, both indoors and outdoors. In addition, the costume designer, Chanel, deserves special recognition. Going beyond haute couture, the costumes also meticulously value jewelry and makeup. Costume care establishes a commonality between Jeanne and Chanel, reflecting a shared commitment to supporting artists and artisans of their time. This attention to detail in locations and costume design adds an extra layer of authenticity and visual splendor.

In short, Jeanne du Barry left a remarkable legacy that goes beyond her role as royal lover. Her story reminds us of the importance of female empowerment, overcoming social barriers and the pursuit of individual freedom. However, it is important to recognize the ambiguity when compared to the film’s cast. In today’s world, where we still face challenges around gender equality, social inequalities and personal freedom, Jeanne du Barry’s life and example remain relevant and inspiring to all of us.

https://www.youtube.com/watch?v=MrDarfGICRI&t=18s

Jeanne Du Barry was released in France, where the film was produced, on May 16, 2023. Unfortunately, the feature film still does not have a release date in Brazil.

We need to talk about Do Revenge, or in the Brazilian translation:  Justiceiras. Netflix’s newest movie is directed and written by Jennifer Kaytlin Robinson and Celleste Ballard. The acidic teen comedy has references to Cruel Intentions and Wild Girls, both from the late 90’s with the main plot involving rich people, power games and high stakes. Although the script was inspired by Alfred Hitchcock’s Strangers on a Train.

Do Revenge differentiates itself by incorporating updated characters full of representation into its narrative, a language not only of speech, but of the script in its macro aspect.

The film introduces us to Drea (Camila Mendes) who is at the height of high school as the Alpha it-girl. Her popularity declines when a sex tape is leaked to the entire school by her boyfriend and campus king Max (Austin Abrams). Eleanor (Maya Hawke), a mysterious new transfer student, discovers that she will be attending the school of her old bully, Carissa (Ava Capri), who started a nasty rumor at summer camp when they were 13 years old. After a clandestine meeting at the tennis camp, Drea and Eleanor form an unlikely, secret friendship to exact revenge on everyone who has wronged her.

Sarah Michelle Gellar joins the cast representing the adult voice of an entire teenage generation. It is worth remembering that the film has great references to the 90’s and who else could represent the 90’s if not our eternal Kathryn / Buffy?

Together with the cast, lines, tones, we have the most striking feature of the film: the SOUNDTRACK. With the great music supervisor, Rob Lowry, who introduces us to a nostalgic track mixing the best of the 90’s and generation Z. With songs ranging from Meridith Brooks to Olivia Rodrigo and even the same payoff song from Cruel Intentions. Would Max be the new Sebastian Vallmont with an improved ending where there is no death but an opportunity for improvement and recognition of his mistakes?

You can find Do Revenge on Netflix.

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A portrait of a Brazilianness that is little represented on screen. It assumes a key role in bringing the pain, difficulties and reality that most of the population in the country faces. It is understandable why Marte Um won great prizes in Gramado. It had its premiere at the Sundance festival and arrives in theaters in Brazil next Thursday (25).

Marte Um, scripted and directed by Gabriel Martins, features a black family from the periphery of Minas Gerais, in search of their dreams at a delicate moment in the country, which has just changed its presidency, bringing unemployment and rising food prices. There is a balance, on an invisible tightrope, of parents trying to keep their jobs, which in case of absence, can derail family life.

The film of a Minas Gerais production company Filmes de Plástico can be transcribed as a film of representation in its details, ranging from the macro of the narrative to the micro on the screen. With extremely reflective dialogues, we came across themes such as prison privatization in a state that represents the first in the country. Distribution of household tasks by gender. The innocence of a child and even the projection of the parents’ unfulfilled dreams into their children, as an improvement in the life of the previous generation.

Deivinho, the child of the house, is discovering his interests and, contrary to the reality of many who find a way out in soccer, he finds his in science. Discouraged at first by his surroundings, Deivinho dreams of participating in a Mars colonization mission and becoming an astrophysicist. We realize during the narrative that we often do what others want and not what we actually want, in a constant concern with what is expected of us.

“NOT EVERYTHING THAT IS COMBINED SHOULD BE ACCEPTED”.

Marte Um highlights what we already know, but forgot:  Rethink, value the worker and above all their dreams. Have you ever paid attention to the desires of the people who live with you? And the ones that work for you?

You can find Marte Um in the main cinemas in Brazil.

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The first film I directed was a real test of whether or not I wanted to continue in the cinema. I went through several difficulties that tested my emotional on all levels.

Remember that the first audition was the day before recording, during pre-production. I left the place late, I was extremely tired. The place was far from where I lived and I spent the whole day helping to set the scene with the Art Team. On the way, I was trapped in a tunnel due to a police action to save references that were in the sights of a sniper inside a bus. After a few hours when I managed to get home, I discovered that my parents were in the vet emergency with Jordana, my sick kitten. I had to run to get to the clinic in time to see her for the last time before euthanasia, as she had gone into generalized sepsis, she was screaming in pain.

And that’s how a movie set I went toward directing, wanting to fall apart while doing my best to make the movie happen. a team of sustainable or productive people, the producer and I could maintain efficiency and the set could not continue to produce. Even though I haven’t slept at all and been devastated from the night before, I remember the first take. A feeling and a certainty was what I wished it was too late to fill me with the scene and that it was necessary to work.

The second big test came in post-production. As I gathered the material for the montage, I found that I couldn’t use half of the images. I was shooting with two cameras simultaneously and one of them not in focus for most scenes. That despite having problems with Boom’s audio and in an attempt to avoid discovering, there were almost every track of the discovery. It took 3 days of recording and activation as tracks of just 1 day of a movie with lots of dialogue and direct sound. The short went through several editors to save it. I had to walk away for a while as I didn’t see a way to save the film anymore.

I had to walk away for a while as I didn’t see a way to save the film anymore. I went to live abroad. I didn’t want to work in cinema anymore, I didn’t feel like it was for me, because I didn’t want to finish a little with the inches”. And even abroad, the cinema came after me; you cannot run away from your destiny. Now, after being away from the short for a while, I was able to get an overview and new ideas on how to save it. The Essay is almost done and I feel that it is more than just a movie, it was a means of growth, maturation and extreme learning.

When I understood the difference between hobby and my essence as a career fruit to be followed, the professional flowed and happened like never before.

We often think that walking away and letting go after the first big difficulty is the easiest way out. It may even be, but only in the short term because every action has a consequence and it comes back to charge and demand you.

This is what happened to me after my first short movie. I thought it would be impossible to get it back, I would need to invest a lot of money. In fact, we think about pre and during and when it comes to post production, we no longer have resources…even more with a series of mistakes that could have been avoided.

I left the cinema aside because it was the “easy way out” and went to live on the spiritual path. I decided to live in Panama to strengthen myself spiritually and pass on knowledge about yoga, meditation and breathing to people. I didn’t want to have anything to do with cinema anymore.

Remember I wrote that when something is not a hobby but a path to be followed, it comes back to charge you and put you “on a track” again? Well… there in Panama I had some wonderful friends who helped me to realize that cinema is my life and therefore I should never put it aside, because then I would be unhappy.

There in Panama I participated in a film festival (Festival Visible) and a script course with people from different countries. I started recording videos again, amateurishly. And I reconsidered the possibility of saving the short that I thought was lost.

In fact, in the cinema, NOTHING IS LOST! It may not turn out the way it was planned and not be on time, but that’s the wonder of art. Cinema is pure art and art allows you to think outside the box and discover new paths.

📸 @joaogonzalezfotografia

In times of limitless infobesity, a work that brings playfulness and rescues innocence for today’s children comes to the cinemas without losing the artisanal while innovating.

The story of the little ghost of the great playwright of children’s theater Maria Clara Machado has been part of our literature since the 50s, being part of the Brazilian imagination. It has already been adapted for plays and is now on the screen of cinema with an assertive partnership between Rosane Svartman and Clélia Bessa, pioneers and storytellers.

With an extensive post production, the film had one of the biggest budgets of Brazilian children’s movies with approximately 12 million reais. Made in 3D and 2D, the film has a creative and very well done production work, having scenes of Pluft (Nicolas Cruz), his Mother (Fabíula Nascimento) and his Uncle Gerúndio (José Lavigne) performed under the water. With the necessary fluidity from an immersive point of view in a 7-meter pool, the actors won the challenge of acting underground.

The narrative is around Pluft, a little ghost who lives with his mother in an abandoned house. He stands out from the other ghosts as he is afraid of people. His life takes a turn with the arrival of Maribel (Lola Belli) after being kidnapped by the terrible Pirate Perna de Pau (Juliano Cazarré). Maribel will need to overcome her fear of ghosts and Pluft his fear of people to defeat the Pirate and save the great treasure. Rosane successfully translated the magic of theater to film by bringing a creative little ghost not like all the other ones gray and pale and a scary and funny pirate. There is a successful union between fear, adventure and comedy for children and adults, as it is a film for all ages.

There was respect for Maria Clara Machado’s universe and an updating were included such as bringing Maribel in a more combative way. Maribel becomes a vehicle of inspiration for girls to face their fears even in the face of weaknesses, she cries, is afraid, but decides to face them. Pluft is curious but fearful. The movie shows us more than fear, it is necessary to have the courage to face it, it is necessary to overcome it, it is necessary to mature, make choices and respect differences. In Pluft, the art works at its fullest.

http://https://www.youtube.com/watch?v=ViyvmZreWyc&t=48s

You can find Pluft the Phantom in theaters.

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