Julia Seraphim

Maestro(s), directed by Bruno Chiche and written by him in partnership with Yaël Langmann and Clément Peny, brings an intense narrative that delves into the complexities of the relationship between Denis Dumar (played by Yvan Attal) and his father, François Dumar (played by Pierre Arditi). The film, presented at the Varilux 2023 Festival, explores themes of prestige, fear, and the pursuit of excellence.

The plot unfolds with the impactful opening, highlighting two generations of maestros – one who takes the stage and another who recalls their memories. Denis, despite winning a prestigious award, finds himself grappling with the imposing shadow of his father, François, an internationally known conductor. The relationship between father and son is marked by fights, envy and comparisons, creating palpable tension throughout the film.

The photography is remarkable, with dynamic shots that capture the grandeur of the orchestra and the performance space. The close-ups on the instruments, especially the violins and strings, provide a striking soundtrack that accompanies the characters’ emotional journey.

The lack of dialogue in the relationship between father and son adds layers of complexity to the narrative. The question “How do you love a hateful person like me?” highlights François’ internal conflict, as he, rigid and demanding, struggles to understand his son’s true desire.

The plot develops through Denis’ dilemma between reaching the height of his career and facing his fears, or saving his relationship with his father. The film addresses universal themes of self-acceptance, overcoming fear and pursuing one’s dreams.

The triumphant resolution highlights the film’s central message – creativity and cooperation as the answer to challenges. Maestro(s) is a cinematic experience that resonates, reminding us of the importance of facing our fears to achieve our dreams.

You will find Maestro(s) in the official selection of the Varilux Festival which takes place from November 9th to November 22nd, 2023.

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Driving Madeleine,  directed and scripted by Christian Carion and presented at the Varilux 2023 Festival, is a cinematic experience that transcends the boundaries of simple narrative, taking viewers on a unique journey through the streets of Paris and into the deep recesses of human memory.

The film, starring Line Renaud and  Dany Boon, has a captivating and dynamic opening, presenting the daily life of taxi driver, Charles, played by Dany Boon. Every detail is inserted concisely, establishing an environment of urgency and vulnerability. Charles, on the verge of losing points on his license and facing financial difficulties, finds himself at a crossroads, seeking help in his complicated relationship with his doctor brother.

Charles’ meeting with Madeleine, a 92-year-old woman, changes the course of their lives. The film unfolds mainly inside the taxi, but maintains a dynamic and engaging pace. Christian Carion’s ability to create an intimate atmosphere inside the vehicle is remarkable.

The story develops as Madeleine shares her memories, revealing a life marked by challenges and overcoming. The flashbacks, masterfully and poetically constructed, offer the audience a deep insight into Madeleine’s past experiences, some painful, others reflective.

The film is a reflection on time, changes in the city, love and life itself. The soundtrack plays a key role, perfectly complementing the emotions evoked by Madeleine’s stories. Charles’ journey, initially impatient and closed, transforms as he is captivated by the passenger’s narratives, revealing a lighter and more open man.

The script skillfully addresses sensitive themes, such as domestic violence, love and loss, without losing tenderness and humanity. The cinematography takes the viewer through different locations in Paris, like an invitation to an emotional city tour.

Driving Madeleine is more than a film; is a cinematic experience that breathes life into the intertwined stories of two unlikely characters. With a surprising emotional twist and a conclusion that echoes the ephemerality of existence, it is a breathtaking film.

You can find Driving Madeleine in the official selection of the Varilux Festival which takes place from November 9th to November 22nd, 2023.

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It can be said that Tia Virgínia, directed and scripted by Fábio Meira, is a cinematographic work that takes us on a deeply personal and touching emotional journey. With a narrative that unfolds over a single day during a Christmas celebration after the father’s death, the film delves into the complexities of the family, bringing back memories and conflicts that many viewers can recognize in their own lives.

One of the film’s main strengths is its ability to create an immediate connection between the audience and the characters, especially with protagonist Vera Holtz, who delivers a memorable performance. The proximity to the real world is palpable, and viewers are made to feel like they are part of the story. The film explores family themes, including memories, conflicts of interest and the sisters’ desires, all amidst celebrations that, over the years, become increasingly different. This evolution and separation of the family during the Christmas holidays is sensitively portrayed, while the ever-changing family dynamics are explored.

The presence of sound plays a key role in the film’s atmosphere, with conversations and house noises adding depth to the experience. The choice of music, including Milton Nascimento’s voice, is also a sensitive touch that contributes to the feeling of familiarity and connection with the story.

Tia Virgínia touches on universal themes, such as aging, caring for the elderly and the impact of the past on people’s lives. The journey of caring for an elderly loved one is portrayed in a sincere and reflective way, questioning what it truly means to be well and where that sense of well-being can be found.

The film’s poetic photography reveals the essence of each character, their secrets and interests. Through this lens, we are led to reflect on control over our own lives and the importance of taking care of ourselves.

In short, the feature film  is a real and necessary family drama that offers an intimate look at the complexities of family relationships and the passage of time. With captivating performances and an emotionally rich narrative, the film invites viewers to reflect on life, aging and the importance of taking care of those we love, but above all, ourselves.

Dream emerges as a cinematographic example that, with skill, reveals the complexities of the human being in the face of emotional wounds and personal challenges. Lee Byeong-heon scripts and directs the feature that comes to the Netflix catalog after dominating the South Korean box office in 2023, challenges the conventions of sports comedy and can reach k-drama fans.

The film stars two great figures, Park Seo Joon and IU, whose performances bring depth and magnetism to each character they play. However, do not be fooled by the comic guise, as this narrative goes beyond the mere search for laughter, bringing trauma and disbelief, by weaving a scenario of mutual learning and collective overcoming.

Lee Byeong-heon weaves an exciting plot full of underlying meanings. The story follows the trajectory of Yoon Hong Dae, played by Park Seo Joon, an athlete who is on the brink of failure, whose career salvation is coaching a team of unfortunates, relegated to social marginality. Here, football transcends its sporting surface and, as a metaphor for life, becomes the very battle for existence, where endurance and determination are essential foundations on the journey.

Addressing the ambivalence between commitment and talent, the narrative subtly reveals that, in a world where some are ostracized, solidary support becomes the compass for reconciliation with oneself and with family members left behind. The victories are not only in the sporting sphere, but in building shared memories and strengthening bonds.

The narrative takes on additional contours with the inclusion of Lee Ji-eun as Lee So-min, a documentary filmmaker who records the arduous training sessions and matches, placing them in a unique film, the so-called ” Dream”. Through the journey of creating this documentary, it culminates in a metafilmic experience that portrays its stages as montage and voice-over in the editing and image capture island and execution of a documentary script throughout training and games.

Dream, in addition to promoting laughter and deep reflections, is a powerful visibility tool for the marginalized and excluded from society, showing their humanity and potential, a real punch in the stomach of social indifference. With subtle references to the Premier League, the film transcends geographic boundaries, reverently intertwining with European football and its icons, evoking nostalgia in viewers.

In essence, Dream constitutes an unmissable invitation for cinema aficionados who wish to appreciate the subtlety of the narrative and the impact of a plot that extends beyond the four lines of the field, rising to a human narrative full of courage and resilience.

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.