#fernando mereilles

[jaywritesrps]

Eu tava debatendo comigo mesmo se ia postar isso ou não, mas foda-se né, o que é um peido pra quem já tá cagado? Mas piadas a parte, ontem à noite me deixou bem assustado com as pessoas que jogam na tag br. Começo a acreditar que aqui talvez seja um dos locais mais inóspitos da internet pra alguém que é parte de uma minoria jogar.

Eu amo jogar em português, como disse bem Fernando Mereilles, diretor de Cidade de Deus: "Eu sei o Inglês, mas não sinto em inglês. Eu sinto em português" e é muito disso, de ser mais fácil de se expressar e de construir um personagem em português, que é a nossa língua materna, mais do que em outro idioma. O problema é que ontem à noite a tag br finalmente colocou pra fora uma transfobia, xenofobia e racismo que passaram anos velados, muito bem embaladinhos em uma galerinha que se diz suuuuper preocupada com as minorias, mas que na primeira oportunidade mete algo ofensivo, disfarçado de opinião, sem é claro, esquecer de dar aquela militada básica (quase sempre errada).

"Ah mas a gente tem que ouvir as pessoas trans" ok, as pessoas trans vieram aqui, falamos inúmeras vezes que todos nós queremos apenas jogar em paz com nossos personagens, sem a cobrança exagerada que é imposta sobre os personagens trans, explicamos de forma didática o porquê, a importância daquilo e de como isso afeta a nossa experiência. Ouviram? Nem a p*&?a de uma vírgula. Cada vez é um argumento mais esdrúxulo do que o outro, chegando no ápice de ontem, de vir gente criar situações hipotéticas, com o cenário mais problemático possível, jogar a culpa nisso nos personagens trans com fcs cis, e ainda fechar com xenofobia e racismo tudo de uma vez só. Ficou bem claro ontem que mesmo a com os aliados cis como a Sandy e o Júnior do @olhaoqueakrpmefaz ajudando e cedendo espaço pra discussão, vocês ainda sim agem como um bando de crentelho, berrando que menina usa rosa e menino usa azul. É a primeira vez nos mais de 10 anos q eu jogo nessa tag que não me sinto seguro de jogar aqui e estou pensando de verdade em só jogar na tag gringa de agora em diante. Me deixa bastante perturbado de saber que no local que era pra ser um espaço pra gente descansar a cabeça estar infestado com um monte de mini-damares usando os fcs da modinha.

E o foda é que esse é só um sintoma da situação delicada que tag br se encontra. Por mais que a gente saiba que as mini-damares estão menor número, elas são mais vocais e mais insistentes (se me perguntar, é falta de atenção parental na primeira infância...), mas olha o estrago que a galera que se comporta como se só tivesse elas no mundo causa na tag. Olha pra rp br e pra krp br, olha a quantidade ínfima de grupos only tumblr que tem nas duas, Não vou nem muito longe no tempo, compara com 6 meses atrás, veja a rapidez com que os grupos abrem e fecham. O último grande grupo que durou mais de 3 meses foi o Legacies, mas o Legacies fechou há quase 6 meses, e fechou de novo, por conta da mesma galerinha pentelha que acha q acha q tudo tem que ser sobre elas e que atazanaram a mod Anna desde o primeiro dia.

Deixa o tio aqui contar uma coisa pra vocês, galerinha mais ou menos que gosta de causar sendo uma pessoa escrota na tag br: NEM TUDO É SOBRE VOCÊS. NÃO É NOSSA CULPA SE SUA VIDA OFFLINE É UMA PORCARIA. A MAIORIA DE NÓS SÓ ESTÁ AQUI PRA TER UMA VÁLVULA DE ESCAPE DA SOCIEDADE MERDA Q A GENTE VIVE, E VOCÊ ESTÁ FAZENDO DESSE LUGAR AINDA PIOR AGINDO QUE NEM UMA CRIANÇA MIMADA.

Enfim, esse texto era só um desabafo mesmo. Ainda não sei se vou continuar tentando jogar por aqui. Mas é isso.

[sukiisuzuki]

« It was like a message from God: “Honesty doesn’t pay, sucker.”

Where to even begin? This is magical if the word magical was ever turned into a movie. The cinematography just fits in really well with the whole vibe of the film and it depicts real life occurrences in a very gritty manner that doesn’t sugarcoat anything. It makes me sympathize with killers and drug dealers, even. It makes them human in a way that’s not forced. I love it so much and a majority of the reason why is because of how realistic yet unpredictable it is.

[filmista]

City Of God (2002)

“Why return to the City of God, where God forgets about you?”

Cidade De Deus made by Brazilian music video maker Fernando Mereilles, deserved all the accolades and praise it received back in 2002 and rightfully remains one of the most popular Brazilian films of all time and one of the most powerful anti hate films ever made. 

This is a hard, visually stunning and content-rich story, made by people who are smarter than their characters and who are smart enough not to look down upon  them. Comparisons to Scorsese's GoodFellas didn’t come  out of the blue, and were certainly not undeserved.

Cidade de Deus, the City of God, is a slum outside of Rio de Janeiro where the poorest of society have lived packed together in almost unliveable ghetto since the sixties. 

It’s in the sixties that we meet a roughly nine-year-old boy who calls himself Rocket. Every day he witnesses the violence that dominates the world he lives in. Just about everyone around him is included even his little brother  is part of an armed gang. Ten year old boys walk around with guns.

We follow Rocket in his dealings with different figures that may belong to the underworld - but in the City of God there is no upper world. Gang leaders are killed bloodily and followed up by even worse maniacs who just go on with their drug trafficking. Whoever wants to escape the terror of the streets, has little chance of making it out alive. 

The biggest madman is Zétje (Firmino da Hora), a murderer who started his career early and has since then worked his way up to king of the neighbourhood.

A conflict with a rival drug dealer, Wortel (Matheus Nachtergaele), leads to a devastating gang war that lasts more than a year. Meanwhile, Rocket who is making frantic attempts to get a job as a photographer with a real newspaper, is cast as a witness, recording what happens, and then telling us.

Mereilles is a talented filmmaker, nobody can deny that. He succeeded in making a film that is more than two hours long to create a story in which literally not a single scene is too much.

Each scene contributes to the theme, every minute makes the movie more powerful in its positions without falling into repetition. The director clearly took a good look at Scorsese, Tarantino and other modern filmmakers who sometimes want to play with violence, and he has clearly learned his lesson.

A hand-held camera rotates like crazy between the characters, remains close to their skin, allowing us to interact with them to the max. All the tricks from the book are used: freeze frame, split screen, flash backs, flash forwards etc ...

The story branches out and then returns to where we are and then heads in a new, unexpected direction. Mereilles plays with visual and narrative tricks, in the way only a young, enthusiastic filmmaker can, intoxicated by the simple pleasure of filming and the conviction that he has a good story to tell on his hands.

What keeps us on track along the way is the sometimes dry-comic narrative voice of Rocket, who continues to orient us within the story, just as in GoodFellas and Casino.

That Cidade De Deus has become more than just a copy of what the American maestros of violence did before is due mainly to the story and the themes associated with it, are so strong and convey such an unmistakable identity.

From start to finish, it paints a completely credible picture of the slums where everything takes place is displayed, as if the filmmakers didn’t stage anything, but just happened to be around while the bullets happened to whistle by.

Where Scorsese is typically a New York filmmaker, and Tarantino's stories are set in a fantasy world based on older crime films, Mereilles speaks very convincingly about his own country, about what it shouldn’t be.

Cidade De Deus has become a hard film about people for who who crime and brutal violence have become a living standard that cannot be escaped. We get a panoramic view of a world in which the police can be bought and where the media remains disinterested until too many deaths have happened - everything and everyone is corrupt even the smallest children.

Certain scenes will undoubtedly stay with you for a long time, not so much because they are so graphically violent (watch the film a little more distantly and you will see that in the end not so much is shown), fat more is suggested. Just think of the hand-or-foot scene. Later in the movie we see a nine-year-old seriously claiming, "I am not a child. I smoke and I sniff. I am an adult. ”

And if you thought that the ending would make up for something, that it would end on a positive note - forget it. The last couple of scenes of Cidade De Deus make it clear that absolutely nothing has changed.

Carefully applied overtones of love (that of Rocket for Angelica, a girl from the neighbourhood), forms a beautiful  antithesis to the atrocities that dominate the film, but can finally not prevail. How, can the love of a few people overcome the hatred of so many?

This is certainly not an uplifting film, but it’s a  lively, visceral, exciting piece of work that deserves to continue to be seen by everyone. 

[sowhatisthisfor]

My Top 50 movies of 2019

Of the 145 movies I watched this year, here are my top 50 picks:

50. Pihu [Kapri Vinod, 2018, India]

Heartbreaking torture. Although I feel like it could have ended better. 6.5/10

49. Green Book [Peter Farrelly, 2018, United States]

Flawed yet entertaining – not sure if it’s good or bad though. 6.5/10

48. 4 Latas [Gerardo Olivares, 2019, Spain]

For all its nonsense, I enjoyed it. 7/10

47. First They Killed my Father [Angelina Jolie, 2017, United States, Cambodia] 

sincerely and sensitively paints a portrait of a country’s tragic history. 7/10

46. Dear Ex [Chih-Yen Hsu, 2018, Taiwan] 

Features odd but genuine kind of love. It is funny, heartfelt, and charming all at the same time. 7/10

45. UnTrue [Sigrid Andrea Bernardo, 2019, Philippines] 

to put it simply, UnTrue is a thrilling rollercoaster ride. 7/10

44. The Awakening of Motti Wolkenbrunch [Michael Steiner, 2019, Switzerland, Germany] 

A funny glimpse at a life of an Orthodox Jewish man with a chemistry that gives you a hopeful ending. 7.5/10

43. Furie [Le Van Kiet, 2019, Vietnam] 

With great performance and thrilling choreography, Furie is one of the best action films of 2019. 7.5/10

42. Kaptn Oskar [Tom Lass, 2013, Germany] 

Only basic virtue - it is a beautiful film. Not only for its comfort. But for the old poetry of dust emotions. 7.5/10

41. Giant Little Ones [Keith Berhman, 2019, United States] 

An honest road to knowing your own self in the eyes of a boy transitioning to adolescence. 7.5/10

40. Contratiempo (The Invisible Guest) [Oriol Paulo, 2017, Spain] 

offers an outstanding and enjoyable thrilling ride. 7.5/10

39. My Days of Mercy [Tali Shalom Ezer, 2019, United States] 

There is a bewitching chemistry between the two leads despite the coldness of it all. 7.5/10

38. A Land Imagined [Chris Yeo, 2018, Singapore, France, Netherlands] 

An unsettling noir mystery that questions people's notion of truth. 

37. The Two Popes [Fernando Mereilles, 2019, UK, US, Italy, Argentina] 

Features two outstanding performances that redeemed it from all its dragging moments. 7.5/10

36. Sovdargari (The Trader) [Tamta Gabrichidze, 2018, Georgia]

Emotionally intense depiction of rural poverty. 7.5/10

35. If Beale Street Could Talk [Barry Jenkins, 2019, United States]

The kind that even though you are hopeful, you know from the start that it's going to be tough. 8/10

34. Ek Ladki Ko Dekha To Aisa Laga [Shelly Dhar, 2019, India] 

Not a first in world cinema, but is still a groundbreaking moviemaking in the context of India. 8/10

33. Brother of the Year [Witthaya Thongyooyong, 2018, Thailand] 

For all its simplicity and bleak storyline, it still offers an abundance of emotion and a sense of realism. 8/10

32. Kuwaresma [Erik Matti, 2019, Philippines] 

Is a multilayer of social commentaries which were good before they too contradict themselves. 8.5/10

31. Berlin Calling [Hannes Stohr, 2008, Germany]

a movie that lives in the present paced in such rhythmic beat, it is dazzling from start to end. 8.5/10

30. Margarita with a Straw [Nilesh Maniyar, Shonali Bose, India, 2016] 

An unusual take on sexual exploration and self discovery. It somehow lost its focus towards the end but still a delightful watch overall. 8.5/10

29. Fuccbois [Eduardo Roy Jr, 2019, Philippines] 

Amazing storytelling and editing of a narrative so strange yet so eclectic. 8.5/10

28. First Reformed [Paul Schrader, 2019, United States] 

an astounding character study that questions the politics of religion. 9/10

27. La Luciernaga (The Firefly) [Ana Maria Hermida, 2015, Colombia] 

is about finding love in grief, beauty in ugly. And though there are some directorial decisions I don’t necessarily agree with, the chemistry its leads bring onscreen is too tangible for me to pay attention about its flaws. 9/10

26. Eerie [Mikhail Red, 2018, Philippines] 

More than its excellent scare tactics, what I love about it most is its clever storytelling and use of metaphors. 9/10

25. Widows [Steve McQueen, 2018, United States] 

How can something so traditionally formal feel so modern at the same time? Steve McQueen knows. 9/10

24. Paglisan [Carl Papa, 2018, Philippines] 

A heartbreaking test of sympathy. Stop-motion at its most affecting with a storytelling that reminds me of Farhadi. 9/10

23. Paris is Burning [Jennie Livingston, 1991, United States] 

is a little documentary that stays. 9/10

 22. Mamu and a Mother Too [Rod Singh, 2018, Philippines]

Why it scared me, I don’t know. It could be because it’s unpredictable, it’s non-cliche, and it’s gentle in ways you don’t expect. I love it. 9/10

21. PK [Rajkumar Hirani, 2014, India] 

a courageous film that wittingly pokes fun of religious beliefs. 9/10

20. The White Helmets [Orlando Von Eisiedel, 2016, United Kingdom, Syria] 

A heartrending glimpse at the life of true heroes in violence-stricken Syria. 9/10

19. Us [Jordan Peele, 2019, United States] 

It is as if every element in this film is smartly placed there to serve a deeper purpose, it's a movie in search of greater meaning. 9.5/10

18. Incendies [Dennis Villanueve, 2011, Canada] 

With such expert direction, it's elementally strong in more aspect than one. 9.5/10

17. The Wife [Bjorn Runge, 2018, Belgium] 

Glenn Close is mesmerizing. There is no need to say more. 10/10

16. Avengers: Endgame [Russo brothers, 2019, United States] 

Raises the bar so high, is probably the most entertaining superhero movie to date. 10/10

15. Ulan [Irene Villamor, 2019, Philippines] 

Is a fuck you to societal norms, so profound, it is a love story that involves only one. 10/10

14. Marriage Story [Noah Baumbach, 2019, United States] 

My favourite performance of the year belong to these two leads whose portrayal of lovers going through divorce is rock solid heartbreaking. 10/10

13. I Lost My Body [Jeremy Clapin, 2019, France] 

gives an absolute strange reason to cry, it's extraordinarily cathartic. 10/10

12. Edward [Thop Nazareno, 2019, Philippines] 

I am so amazed at how this film shows struggles after struggles after struggles without spoonfeeding emotions. It’s a movie so simple yet so despairing. Everything of it is in the right place, it’s sublime. 10/10

11. The Favourite [Yorgos Lanthimos, 2019, Greece, Ireland, United Kingdom, United States] 

a dark period comedy oddly fused with sophisticated costume and production design for a strange yet striking visual treat. 10/10

10. Metamorphosis [JE Tiglao, 2019, Philippines] 

Not your ordinary coming-of-age movie. This one comes with such importance and inclusivity, everyone needs to see. 10/10

9. Atlantique [Mati Diop, 2019, France] 

Such a bewitching tale of love, lost, and longing. A film told with such raw elegance, it’s enchanting. 10/10

8. The Third Wife [Ash Mayfair, 2019, Vietnam] 

possibly has one of the best visual stories this year with a contrast of hauntingly sensual tension and dreamlike composition, it’s strangely beautiful. 10/10

7. John Denver Trending [Arden Rod Condez, 2019, Philippines] 

Aside from its central theme of mental health awareness, it also has an excellent juxtaposition of the culture of bullying and cyberbullying and its correlation with how the nature of superstitions and religions shapes a country’s humanity. 10/10

6. Capernaum [Nadine Labaki, 2018, Lebanon] 

it’s not just about a boy in an unjust world, it is more about an implausibly unjust world where everyone is a victim and no one is an actual villain. 10/10

5. Shéhérazade [Jean-Bernard Marlin, 2018, France] 

a gritty narrative of an unusual young love with such depressing yet charming emotional pull. 10/10

4. Kanarie [Christiaan Olwagen, 2018, South Africa] 

Has one of the most poignant and critically-observed approach to self-awareness and acceptance. 10/10

3. Las Herederas (The Heiresses) [Marcelo Martinessi, 2019, Paraguay] 

compellingly melancholic in its silence and uncertainty. It's a blossoming, a self-discovery, a thorny journey towards maturity. 10/10

2. Parasite [Bong Joon-ho, 2019, South Korea] 

You can watch it in many different ways, perspective, and angle, and everything is just as clever. 10/10

1. Portrait of a Lady on Fire [Celine Sciamma, 2019, France] 

a film of magnificent visuals, intoxicating sound design, and a screenplay of jawdropping surprises -- definitely on top of my 2019 movie list. 10/10

Here’s the trailer: 

Related links:

All movies: 2019

Top 50 of 2018

Top 50 of 2017

[twopointthreeninetoone]

Blindness (2008)

Blindness is one of those movies that’s really hard to dislike because it is actually rather well made and aesthetically pleasing. But story-wise it’s just such a train wreck. And the general plot is genuinely interesting–everyone goes blind except for one woman, who is forced to watch society devolve and people waste away as she sneaks into quarantine to be with her husband–but it’s the important details that are either disregarded entirely or just mangled. For example, how long does it actually take for society (quarantined microcosm and otherwise) to self-destruct? It’s understandably easy for the blind prisoners to lose track of time, but apparently it only takes a month or so for factions to be created, and soon enough a rebellious squad of men are bartering the whole building’s food rations away in return for sex. I’m hazy on the chronology because no one’s hair seems to grow in this movie. Despite showing the hallways of the quarantined building becoming littered and covered in human waste, and some of the prisoners becoming gaunt and sickly-looking, no one’s hair grows, and their clothes barely get dirty. It’s distracting.

And about the whole food-for-sex thing–the only person not affected with the disease (played by Julianne Moore), wants to keep the fact that she can see on the down low. Which is understandable, to a degree. She could be sent out, she could become a target, and so on. But when things devolve to such a point that all of your friends and loved ones are being raped and killed, don’t you think it’s time to use your advantage? And she does, in time; but not after the women are raped and are about to be raped again. It isn’t even a matter of showing her hand–she could have easily eliminated the problem with very few people knowing. It’s not so much that she doesn’t take control, it’s that I don’t understand why she doesn’t. The cruelty in the quarantine reaches such a frenzy (and without an explanation), that it feels as though, ultimately, the movie isn’t trying to teach us a lesson so much as it just wants to wallow in how much people can suck, given the opportunity.

Other things–the movie has a great cast (even though it only uses Sandra Oh for about six seconds altogether–her role feels like it was mostly left on the cutting room floor), but the extras are often annoyingly obvious and stagey. Julianne Moore’s character is so incredibly passive that it makes my brain hurt. But the soundtrack is pretty good, and some of the shots are striking. And there’s an insanely cute dog in this movie. I think it’s an Airedale terrier. But it’s adorable and I want it. The end.

[forapsdb]

SÉRGIO MORO BLINDOU SENADOR  ALVARO DIAS

O site Uol trouxe a tona a blindagem que a força-tarefa e Sérgio Moro fizeram para livrar um senador aliado das investigações no âmbito da Lava Jato, devido a extensão do conteúdo, contudo resolvemos dividir a matéria em uma série de reportagens para que nossos leitores, possam entender a dimensão do escândalo que envolve o senador, em operações ilícitas com doleiros, sumiço de inquérito, blindagem de Moro e muito mais.

> Moro e Álvaro Dias em celebração no ano de 2015, um ano depois o senador seria alvos de novas acusações sem que Moro abrisse investigação ou desse prosseguimento as mesmas. ff Defensor da Lava Jato, o senador Álvaro Dias (Podemos-PR) já foi citado como beneficiário de propinas pagas em alguns episódios investigados pela operação, conforme a reportagem: BOMBA NO SENADO!GOLPISTA ÁLVARO DIAS, É SUSPEITO DE RECEBER 5 MILHÕES EM PROPINAS PARA BARRAR INVESTIGAÇÕES. Apesar disso, o parlamentar nunca foi oficialmente investigado pela força-tarefa. Tudo começou no início da Lava Jato, o ano era o de 2014, quando surgiu pela primeira vez o envolvimento de Álvaro Dias em suspeitas apuradas na operação Lava Jato. Leonardo Meirelles, doleiro condenado na Lava Jato na segunda ação penal resultante das apurações da operação, chegou a indicar num depoimento que poderia falar sobre o senador, conforme apuramos seria Álvaro Dias. Moro pediu que identificações fossem evitadas, claro pois ali tratava-se de um conhecido seu. Moro e os procuradores já ouviram em depoimentos relatos de participação do senador em negociações para obstruir duas comissões de inquérito abertas no Congresso para apuração de crimes na Petrobras e relacionados ao bicheiro Carlinhos Cachoeira. A participação do senador nesses casos nunca foi apurada. No depoimento, ocorrido em outubro daquele ano, Mereilles começou a relatar a Moro as ligações do também doleiro Alberto Youssef, seu parceiro, com partidos políticos.Meirelles citou o PSDB e falou num "padrinho político" e "conterrâneo" de Youssef. Youssef nasceu em Londrina (PR). Dias nasceu em Quatá (PR), mas estudou em Londrina e iniciou sua carreira política como vereador da cidade, em 1968. Sabendo que o nome que seria citado Álvaro Dias,Moro, então, interrompeu Meirelles: "A gente não está entrando nessas identificações, doutor” Segundo relatos o acusado tentou prosseguir no assunto dizendo que "não estava citando nomes". Moro novamente interveio: "Se a gente for descrever e falar as características, daí não precisa falar o nome, né?" Ao site Uol advogado de Meirelles, Haroldo Náter, confirmou  que o político tratado no depoimento era Álvaro Dias. Para ele, Moro evitou tratar envolver o senador no depoimento porque isso poderia paralisar a tramitação do processo e enviá-lo ao STF, já que Dias já tinha foro privilegiado na época. Mas na verdade o senador e o juiz tem uma ligação antiga, desde que Álvaro Dias foi governador do Paraná, mantém ligação com o juiz e sua esposa, a ligação iniciou quando Rosangela Wolf, trabalhou na Apae, a mesma conheceu Álvaro Dias por meio de Beto Richa, que é primo da esposa de Sérgio Moro, desde então a relação sempre foi muito agradável ao casal e muito conveniente ao senador, que passou pela lava jato de forma despercebida. Procurado pelo site UOL, Álvaro Dias negou seu envolvimento em esquemas de pagamento de propinas e disse que citações de seu nome não passam de boatos com fins políticos.

O senador disse nunca ter sido investigado pela Lava Jato justamente porque nunca houve fatos que justificassem a abertura de inquéritos sobre sua conduta, na verdade o que nunca houve foi interesse da operação Lava Jato para investigar a conduta do senador, afinal Dias não era filiado ao Partido dos trabalhadores, mas sim, um oposicionista e velho amigo de Sérgio Moro. Inquéritos sobre suspeitas envolvendo parlamentares como Dias tramitam no STF (Supremo Tribunal Federal). Também não constam do sistema da Corte investigações sobre o senador. Vale lembrar que Álvaro Dias foi o primeiro político a dizer abertamente que convidaria Sérgio Moro para o ministério da Justiça, caso fosse eleito, seria uma forma de pagar o favor feito pelo ex-magistrado quando juiz? Afinal por algumas vezes Moro ajudou que o nome do senador aparecesse ou figurasse entre a lista de investigados. Clique Aqui para ir para a segunda reportagem da série. Leia também: REVISTA VEJA DAR COMO CERTA QUEDA DE DALLAGNOL! Veja tambem FECHOU OS OLHOS PARA A PARTICIPAÇÃO DE ÁLVARO DIAS EM REUNIÃO COM FERNANDO BAIANO! O SUMIÇO DO INQUÉRITO QUE INVESTIGAVA SENADOR E A CPI DO CACHOEIRA!

[gomoviesusa]

[soikeo388bet]

News 388: Tròn 8 năm Chelsea vô địch Champions League và câu chuyện cổ tích ở thành London

Chelsea không phải hạng vừa ở sân chơi Champions League, nhưng danh hiệu vô địch năm 2012 vẫn là một trong những chuyện khó tin và kịch tính nhất thế giới bóng đá.

Ngoại hạng Anh có 6 ca nhiễm COVID-19

Jurgen Klopp: 'Không công bằng nếu Liverpool mất chức vô địch'

Đan Mạch từng vô địch EURO 1992 dù chỉ dự giải với tư cách đội thế chỗ. EURO 2004, Hy Lạp đánh bại những cường lực của bóng đá thế giới như Cộng hòa Czech, Bồ Đào Nha để đăng quang. Ngoại hạng Anh 2015/2016, Leicester City trở thành nhà vua.

Đó đều là những câu chuyện cổ tích có thật của bóng đá hiện đại. Chức vô địch Champions League của Chelsea năm 2012 cũng không phải ngoại lệ, nhưng tại sao? 4 năm trước đó, Chelsea từng vào tới chung kết và chỉ thua Manchester United bởi cái trượt chân oan nghiệt của John Terry. 3 năm trước đó, Chelsea suýt có mặt tại chung kết, cũng chỉ thua Barcelona hùng mạnh trong trận đấu ngập tiếng còi méo.

Một đội bóng thường xuyên lọt sâu ở Champions League như Chelsea, vô địch giải đấu này có phải là kỳ tích? Có lẽ là không. Dù vậy, hành trình của đội bóng áo xanh mùa giải năm đó in đậm những chi tiết khó tin, có cả may mắn, nhưng tựu trung lại, Chelsea đã khiến cả thế giới thấy được tinh thần quả cảm và nỗ lực vượt lên nghịch cảnh của mình đáng gờm thế nào. 

Từ nỗi đau mang tên Andre Villas-Boas 

Mùa giải 2011/2012 chứng kiến "tiểu Mourinho", ông Andre Villas-Boas, được trao quyền ngồi ghế chỉ đạo. Chelsea trước đó sa thải Carlo Ancelotti khi HLV người Italy chỉ giúp đội về nhì ở Ngoại hạng Anh. Villas-Boas vừa giúp Porto vô địch Europa League, nhưng ông vẫn quá nhỏ bé ở Chelsea.

Chẳng những không tái hiện hành trình của Mourinho như nhiều người kỳ vọng, Villas-Boas còn "đứt gánh" giữa mùa. Ông bị sa thải sau thất bại trước West Brom. Trước khi ra đi, Villas-Boas giúp Chelsea lách khe cửa hẹp khi thắng Valencia 2-0 để vượt vòng bảng, nhưng lại đại bại 1-3 trước Napoli ở vòng 1/8 Champions League. 

Chelsea trên sân San Paolo hôm ấy là Chelsea tồi tệ nhất trong kỷ nguyên Roman Abramovich. Đội bóng nước Anh bất lực trước sức mạnh của Napoli, còn Villas-Boas "chết lặng" trên ghế chỉ đạo. Giỏi chiến thuật và xoay sở, song Villas-Boas quá trẻ để chỉ đạo những cựu thần Chelsea còn ngang tuổi ông như Frank Lampard, Didier Drogba hay John Terry. Ông thầy người Bồ Đào Nha "bật bãi", nhường lại ghế cho Roberto di Matteo.

Di Matteo là ai? Là một huyền thoại Chelsea, nhưng trên ghế chỉ đạo, ông là con số 0. Di Matteo từng giúp West Brom thăng hạng (và thua chính Chelsea 6 bàn không gỡ), được đưa về để trở thành cánh tay nối dài, giúp Villas-Boas làm chủ phòng thay đồ. 

Khi Di Matteo ngồi ghế tạm quyền, không nhiều người tin ông sẽ làm được điều kỳ diệu. Chelsea khi ấy đã xuống đáy. Rất ít đội thua 1-3 ở lượt đi Champions League có thể lật ngược thế cờ. Đội chủ sân Stamford Bridge có lẽ đã nghĩ đến viễn cảnh từ bỏ, cố tập trung đua top 4 Ngoại hạng Anh. Dù vậy, điều kỳ diệu đã xảy ra, ở thời điểm ít người ngờ đến nhất.

Xem thêm: https://388bet.top/Asia/vn/soi-keo-ca-cuoc-mien-phi-ngay-24_05-karlsruher-sc-vs-vfl-bochum-lua-chon-hop-ly-5697.html

Từ phép màu Stamford Bridge đến phép màu Allianz Arena 

Chelsea nhanh chóng ào lên trong trận đấu lượt về với Napoli. Giữa hiệp 1, Ramires thực hiện quả tạt rất dẻo cho Drogba ghi bàn mở tỷ số. Đầu hiệp 2, đến lượt Terry đánh đầu khéo léo nhân đôi cách biệt. 

Cú sút xa của Gokhan Inler bên phía Napoli khiến Chelsea hụt hẫng, nhưng "thuỷ triều xanh" vẫn không ngừng ào lên. Pha để bóng chạm tay của Lavezzi giúp Chelsea có quả phạt đền. Lampard bước lên, thực hiện cú đá chính diện, đưa trận đấu vào hiệp phụ. Sau cùng, cú sút tung nóc lưới như một tiền đạo của Branislav Ivanovic giúp Chelsea ấn định chiến thắng 4-1, thoát khỏi cửa tử để vào tứ kết.

  Chiến thắng 4-1 trước Napoli mở ra lịch sử cho Chelsea. 

Tiếp đà hưng phấn, Chelsea hạ tiếp Benfica - đội bóng đã góp công tiễn Manchester United rời Champions League từ vòng bảng. Sân Stamford Bridge đã có đôi chút căng thẳng khi Benfica gỡ 1-1 ở trận lượt về, nhưng pha phản công kết thúc bằng cú đá cháy lưới của Raul Mereiles đã đưa Chelsea vào bán kết, chạm trán gã khổng lồ Barcelona. 

180 phút trước Barca cũng là 180 phút đáng nhớ bậc nhất trong lịch sử Chelsea. Trước siêu đội bóng của Pep Guardiola và Lionel Messi, Chelsea "đổ bê tông" trong cả hai lượt trận. Họ thắng 1-0 ở trận lượt đi với bàn thắng vàng của Drogba. Lượt về, Chelsea thua trước 0-2 từ những cú đá của Sergio Busquets và Andres Iniesta. Terry cũng bị truất quyền thi đấu vì đánh nguội Alexis Sanchez.

Nhưng Chelsea vẫn đứng vững. Đội bóng của Di Matteo gỡ lại 1 bàn từ cú lốp bóng khó tin của Ramires, trước khi "kết liễu" Barca với bàn thắng của Fernando Torres. Chelsea may mắn khi Barca có 4 lần sút dội cột dọc, xà ngang. Thiên tài Messi cũng đá hỏng phạt đền. Song, đội bóng đứng vững ở Camp Nou dù chỉ có 10 người, chắc chắn xứng đáng vào chung kết.

Đêm diễn ở Allianz Arena một lần nữa cho thấy Chelsea ngoan cường, khó bị đánh bại thế nào. Bayern Munich dồn ép, có bàn mở tỷ số của Thomas Muller. Nhưng ở pha đá phạt góc đầu tiên của trận đấu, Chelsea đã có bàn thắng. Pha đánh đầu mạnh mẽ của Drogba khiến CĐV Bayern chết lặng. Trong hiệp phụ, Petr Cech ôm gọn quả đá 11m của Arjen Robben, đẩy trận đấu vào loạt luân lưu.

Dẫu Mata sút hỏng lượt đầu và người Đức rất giỏi đá luân lưu, thì khi Chelsea đã có vận, đội bóng áo xanh không thể bị ngăn cản. Cú đá dội cột của Bastian Schweinsteiger và pha sút hỏng trước đó của Ivica Olic khiến Bayern sụp đổ. Drobga đá thành công quả quyết định, giúp Chelsea vô địch Champions League. 

Tinh thần Chelsea 

"Chúng tôi ở Munich đá trận chung kết ngay trên sân đối thủ. Cả sân chìm trong sắc đỏ. Đội chủ nhà vươn lên dẫn trước khi trận đấu chỉ còn 8 phút và trong 8 phút đó, tôi vô cùng nản lòng. Tuy nhiên, Mata bảo tôi: ‘Hãy giữ niềm tin, Didi à’. Nhìn vào bảng tỷ số, tôi suýt bật khóc khi trả lời cậu ấy: ‘Nhưng tin vào cái gì bây giờ? Thời gian sắp hết rồi’.

Nếu chúng tôi thua, có lẽ tôi sẽ lại khóc giống như vài tháng trước đó khi tôi thất bại ở chung kết với Bờ Biển Ngà. Phút cuối cùng, quả phạt góc cuối cùng, đó là quả phạt góc đầu tiên của chúng tôi sau 18 tình huống của Bayern Munich. Đoán xem ai đá quả phạt góc ấy nào? Đó là Mata. Và phần còn lại là lịch sử.

Thế đấy, bài học rút ra là không bao giờ ngừng tin tưởng. Chúng mừng sinh nhật tuổi thứ 8 của chúng ta", Drobga chia sẻ về khoảnh khắc lịch sử. 

Chelsea mùa 2011/2012 hội tụ quá nhiều yếu tố để... bị loại sớm ở Champions League. Cơn hỗn loạn trong phòng thay đồ, "thế hệ vàng" đi đến trường đoạn cuối sự nghiệp, gặp toàn những đối thủ mạnh,... Nhưng vượt qua nghìn trùng bão tố, đội bóng thành London đã đi tới tận cùng vinh quang. May mắn là một phần của bóng đá, và kẻ tận dụng được may mắn mới là kẻ mạnh.

Dấu ấn chiến thuật của HLV Di Matteo trên hành trình vô địch không quá đậm nét. Nhiều thông tin cho rằng ông... để cầu thủ tự đá. Trận đấu ở Allianz Arena, các cầu thủ tự lên chiến thuật, tự thi đấu, không cần thông qua HLV. Tuy nhiên, chiến công của Di Matteo là không thể phủ nhận.

Sự mềm dẻo, linh hoạt của Di Matteo đã làm dịu đi không khí căng thẳng trong phòng thay đồ cho Villas-Boas tạo ra. Nhờ vậy, đôi chân của các cầu thủ được giải phóng và Chelsea đã tạo nên lịch sử. 

Mùa 2012/2013, Chelsea trở thành nhà vô địch Champions League đầu tiên bị loại ở vòng bảng, nhưng điều đó không thể hạ thấp chiến công của Drogba cùng đồng đội. Chức vô địch năm 2012 vẫn là một trong những câu chuyện thể thao đẹp nhất còn được ghi nhớ đến ngày hôm nay. 

[dreamersdolls-blog]

Surprise from South America

A Brazilian http://follr.me/RyanFord/about is better known in Poland than in Hungary or Irish cinema. All in all, everyone should not be surprised, "they" on the other side of the world, probably not słyszeli.Choć of Linda ... It's not long ago the https://wacom.ccnsite.com/michealgreen s of a https://www.instapaper.com/read/1201680887 film and making Fernando Meirelles Brazil-French were, Fri "City of God" . He is telling the story of the Captain, a young man who grew up in the "City of God", in the valleys of Rio de Janeiro. His brother ... Come back. This is not a film about Kapiszon. This is a film about the City of God. The story of Kapiszon is just about to show us twelve years ago in the scenic region of Rio. We see a growing and growing terrorist group, which happens by people with gangsters who are involved in large or large groups. It can be said: many generations. This Word, however, will mislead people who do not know about the City of God: often life is very small. The human life in the City of God is very important if the idea is addressed at the wrong time. And when the wrong person dies, someone starts to desire a blood transfusion. The wrong person always dies. In our courtyard we are seeing only an inheritance (promil!). We can enjoy it. But it's too much. These are not low-lying areas. This is a film related to the good values ​​we forget. The "City of God" tells us the importance of life and death again. We need to see more that we can understand that we have more reasons for happiness than homes and cars. Despite this message, we should never forget that "the City of God" is only a ... video, and the film should be carefully monitored. With the new Meirelles job, pride does not distract us. I was living in a cinema room and had to see the events on the window and fresh air. We must realize that this is not a https://www.quora.com/profile/Steven-Carson-35 - "artistic art." Eating popcorn should leave the cinema happy - a good thing for everyone. As I said, the writer and youth of Kapiszon. As it is so uncommon in the mouth, we know what's not going well, we are walking around for several years and so forth. In some areas some events are refreshed, and in time they will become dust of the life of one of the soldiers. The showcase (used properly) is another feature of the film - because of the transparency in the window is extra. Pictures - amazing. The Golden Golden Camerimage is well suited. I (I certainly not only with the opinion) very favorite starting chickens for color, even going into this https://java.libhunt.com/u/vipmovies s">https://scala.libhunt.com/u/vipmovies worse than a few. Not once I was so surprised by the Amene ideas, their ideas for the pictures, and finally the amazing surprises operatha.Wszystko connected with the big (one could say - modern) the meeting offers a very similar mix with "Requiem for Dream" by Darren Aronofsky, but at the same time very different it's him. Here the story was told by a large-scale expansion (both with a form), it is impossible to remember the revival of the real output (even palpable city even closed Brazil) and single-frame and well-documented pictures. What should I do? "The City of God" is ... well. The Mereillesa movie the same fear of the people, and they all have wydarzenia.Spory of all these movies and music and photos, the difference we see, eg. Finally. Although Aronofsky and the pessimist, Mereilles induced a mockery of some laughter in the audience (although I am not tiring it is not a chance, and quite fun). And the comparison of "Amores Perros" seems to be useless. All movies are divided into different types, we realize the difference in both body and treści.Jedyne we can find the same, read “between rows”, but I see not enough to collect these two movies on another shelf. It is difficult for me to think of several statements that hold "The City of God" anyway. Over two hours in the movies of the movie I was scared I laughed, I was almost tears and was always attracted to the impossible power to spell my eyes through the window, interesting to see what will happen next. So, "The City of God" includes a list of (which is now six) of my favorite movies. It is a great praise, which stać.Jeśli is a good video movie that is the heart of us, and "City of God" is one of the best movies all the time. There are very few made. Become a facilitator and make such movies. Keep your fingers past me. .

[callofdutydaily-blog1]

Surprise from South America

Brazilian cinema is even less known in Poland than Hungarian or Irish cinema. In total, no one should be surprised, "they" are at the other end of the world, probably they did not hear about Linda, though ... Not so long ago, Fernando Meirelles's production of Brazilian-French, "City of God" hit the cinemas. . He tells the story of Kapiszon, a young boy who came to be brought up in the "City of God", in the slums of Rio de Janeiro. His brother ... Come back. This is not a movie about Kapiszon. This is a movie about the City of God. Kapiszon's story is a pretext to show us the last dozen or so years in the life of the most dangerous district of Rio. We see emerging and falling gangs, the fate of individual bandits involved in smaller or larger scandals. It could be said: movies generations. This statement, however, will mislead people who have no idea about the City of God: there average life is much shorter. Human life in the City of God is worth as much as the sentence uttered at the wrong moment. And when the wrong person dies, someone begins to lust for bloody revenge. The wrong person is always killed. In our yard we see only a substitute (promil!) Of such a life. We can enjoy it. But it's too much. This is not about the social lowlands. This is a movie about the highest values ​​that we forget about. "The City of God" makes us aware of the value of life and death again. We need to see the extreme so that we can understand that we have more reasons for joy than just the house and the car. Despite all this message, we must not forget that the "City of God" is simply ... a movie, and the film must be well viewed. With the latest work of Meirelles, boredom is not threatening us. I personally sat in the cinema room motionless and watched events on the screen with bated breath. It should be noted that this is not a movie - "art for art". A typical popcorn eater should also leave the cinema happy - something nice for everyone. As I mentioned, the narrator in the film is a teenage Kapiszon. As in a not very harmonious oral transmission, we get to know events non-linearly, wandering a few years into these and the other. In some places certain events are silenced, and in time they will become the falcon of the life story of one of the heroes. Such a way of plot presentation (efficiently implemented) becomes another asset of the film - thanks to this the events shown on the screen are even more interesting. Photos - amazing. The Golden Frog at Camerimage is fully deserved. Me (I will definitely not be alone in this view), the sequence of chasing the chicken was the most liked, although there would be quite a few worse ones in this film. More than once I was surprised by the creators' ideas, their visual imagination, and finally the incredible abilities of the operator. All this combined with a dynamic (one might say - modern) editing gives a mix similar to Darren Aronofsky's "Requiem for a Dream", but at the same time much different from him. Here, the story is told with a noticeably greater amount of looseness (both in content and in form), nor is it impossible to mention the peculiar freshness emanating (despite the tangible spirit of the Brazilian city) from both single frames and perfectly composed scenes. What am I going to do? The "City of God" is ... better. In the film Mereilles, I was no less afraid of the characters, I lived with them all. The music and photos have part in both of these films, and we can see the differences, for example at the end. While Aronofsky is a pessimist, Mereilles raises another salvo of laughter in the audience (although I would not consider this ending to be happy, and certainly not too funny). And comparisons to "Amores Perros" seem to me completely unfounded. Both of these films divide the genre divide, we can see colossal differences in both form and content. We can find similarities by reading "between the lines", but it seems to me too little to combine these two films on one shelf. It is difficult for me to say a few sentences that chide the "City of God" in any respect. For those more than two hours spent in the cinema, I was scared, I was laughing, I was close to crying, and all the time an indescribable force drew my eyes towards the screen, curious what would happen next. Hereby, "City of God" joins the list (now six) of my favorite films. This is the greatest praise I can afford. If good cinema is one that arouses emotions, then "City of God" is one of the best films of all time. There are far too few similar productions. Be a director and make such films. Keep your fingers crossed for me. .

[sowhatisthisfor]

Movies 2019

List of films I watched in 2019 from best to worst.

Updated soon after I’ve seen them.

A Ghost Story [David Lowery, 2017, United States] No film has made me feel this melancholic ever. This is a film so profound, it examines existence in the simplest yet most esoteric way possible. It surely goes straight to the top of my all-time favourite list. 10/10

Portrait of a Lady on Fire [Celine Sciamma, 2019, France] a film of magnificent visuals, intoxicating sound design, and a screenplay of jawdropping surprises -- definitely on top of my 2019 movie list. 10/10

The Heiresses [Marcelo Martinessi, 2019, Paraguay] compellingly melancholic in its silence and uncertainty. It's a blossoming, a self-discovery, a thorny journey towards maturity. 10/10

Parasite [Bong Joon-ho, 2019, South Korea] You can watch it in many different ways, perspective, and angle, and everything is just as clever. 10/10

Kanarie [Christiaan Olwagen, 2018, South Africa] Has one of the most poignant and critically-observed approach to self-awareness and acceptance. 10/10

Shéhérazade [Jean-Bernard Marlin, 2018, France] a gritty narrative of an unusual young love with such depressing yet charming emotional pull. 10/10

Capernaum [Nadine Labaki, 2018, Lebanon] it’s not just about a boy in an unjust world, it is more about an implausibly unjust world where everyone is a victim and no one is an actual villain. 10/10

John Denver Trending [Arden Rod Condez, 2019, Philippines] Aside from its central theme of mental health awareness, it also has an excellent juxtaposition of the culture of bullying and cyberbullying and its correlation with how the nature of superstitions and religions shapes a country’s humanity. 10/10

The Third Wife [Ash Mayfair, 2019, Vietnam] possibly has one of the best visual stories this year with a contrast of hauntingly sensual tension and dreamlike composition, it’s strangely beautiful. 10/10

Atlantique [Mati Diop, 2019, Senegal] Such a bewitching tale of love, lost, and longing. A film told with such raw elegance, it’s enchanting. 10/10

Metamorphosis [JE Tiglao, 2019, Philippines] Not your ordinary coming-of-age movie. This one comes with such importance and inclusivity, everyone needs to see. 10/10

The Favourite [Yorgos Lanthimos, 2019, Greece, Ireland, United Kingdom, United States] a dark period comedy oddly fused with sophisticated costume and production design for a strange yet striking visual treat. 10/10

Edward [Thop Nazareno, 2019, Philippines] I am so amazed at how this film shows struggles after struggles after struggles without spoonfeeding emotions. It’s a movie so simple yet so despairing. Everything of it is in the right place, it’s sublime. 10/10

I Lost My Body [Jeremy Clapin, 2019, France] gives an absolute strange reason to cry, it's extraordinarily cathartic. 10/10

Marriage Story [Noah Baumbach, 2019, United States] My favourite performance of the year belong to these two leads whose portrayal of lovers going through divorce is rock solid heartbreaking. 10/10

Ulan [Irene Villamor, 2019, Philippines] Is a fuck you to societal norms, so profound, it is a love story that involves only one. 10/10

Avengers: Endgame [Russo brothers, 2019, United States] Raises the bar so high, is probably the most entertaining superhero movie to date. 10/10

The Wife [Bjorn Runge, 2018, Belgium] Glenn Close is mesmerizing. There is no need to say more. 10/10

Heneral Luna [Jerrold Tarog, 2015, Philippines] Jerrold Tarog is as brave as General Luna. He clearly is the Luna of film making. 9.5/10

Infinity War

Incendies [Dennis Villanueve, 2011, Canada] With such expert direction, it's elementally strong in more aspect than one. 9.5/10

Us [Jordan Peele, 2019, United States] It is as if every element in this film is smartly placed there to serve a deeper purpose, it's a movie in search of greater meaning. 9.5/10

Eternal Sunshine of the Spotless Mind

BuyBust [Erik Matti, 2018, Philippines] a spectacular display of astounding filmmaking where every element is designed and choreographed fittingly well. Entertaining yet harrowing from start to finish, it’s the kind of film that stays. It gets better on second watch. 9.5/10

The White Helmets [Orlando Von Eisiedel, 2016, United Kingdom, Syria] A heartrending glimpse at the life of true heroes in violence-stricken Syria. 9/10

PK [Rajkumar Hirani, 2014, India] a courageous film that wittingly pokes fun of religious beliefs. 9/10

Mamu and a Mother Too [Rod Singh, 2018, Philippines] Why it scared me, I don’t know. It could be because it’s unpredictable, it’s non-cliche, and it’s gentle in ways you don’t expect. I love it. 9/10

Liway [Kip Oebanda, 2018, Philippines] Is at most powerful when it exposes the correlation of facts and fiction. Doesn’t hit you right away but when it does, it hits hard. It hits still. 9/10

Paris is Burning [Jennie Livingston, 1991, United States] is a little documentary that stays. 9/10

Paglisan [Carl Papa, 2018, Philippines] Heartbreaking. It is a test of sympathy. 9/10

Widows [Steve McQueen, 2018, United States] How can something so traditionally formal feel so modern at the same time? Steve McQueen knows. 9/10

Eerie [Mikhail Red, 2018, Philippines] More than its excellent scare tactics, what I love about it most is its clever storytelling and use of metaphors. 9/10

La Luciernaga (The Firefly) [Ana Maria Hermida, 2015, Colombia] is about finding love in grief, beauty in ugly. And though there are some directorial decisions I don’t necessarily agree with, the chemistry its leads bring onscreen is too tangible for me to care about its flaws. 9/10

First Reformed [Paul Schrader, 2019, United States] an astounding character study that questions the politics of religion. 9/10

Bad Bananas sa Puting Tabing

Fuccbois [Eduardo Roy Jr, 2019, Philippines] Amazing storytelling and editing of a narrative so strange yet so eclectic. 8.5/10

Margarita with a Straw [Nilesh Maniyar, Shonali Bose, India, 2016] An unusual take on sexual exploration and self discovery. It somehow lost its focus towards the end but still a delightful watch overall. 8.5/10

Berlin Calling [Hannes Stohr, 2008, Germany] a movie that lives in the present paced in such rhythmic beat, it is dazzling from start to end. 8.5/10

Kuwaresma [Erik Matti, 2019, Philippines] Is a multilayer of social commentaries which were good before they too contradict themselves. 8.5/10

Brother of the Year [Witthaya Thongyooyong, 2018, Thailand] For all its simplicity and bleak storyline, it still offers an abundance of emotion and a sense of realism. 8/10

Ek Ladki Ko Dekha To Aisa Laga [Shelly Dhar, 2019, India] Not a first in world cinema, but is still a groundbreaking moviemaking in the context of India. 8/10

If Beale Street Could Talk [Barry Jenkins, 2019, United States] The kind that even though you are hopeful, you know from the start that it's going to be tough. 8/10

Sovdargari (The Trader) [Tamta Gabrichidze, 2018, Georgia] Emotionally intense depiction of rural poverty. 7.5/10

The Two Popes [Fernando Mereilles, 2019, UK, US, Italy, Argentina] Features two outstanding performances that redeemed it from all its dragging moments. 7.5/10

Black Panther [Ryan Coogler, 2018, United States] Oozing with unusual but likable characters. 7.5/10

A Land Imagined [Chris Yeo, 2018, Singapore, France, Netherlands] An unsettling noir mystery that questions people's notion of truth. 

My Days of Mercy [Tali Shalom Ezer, 2019, United States] There is a bewitching chemistry between the two leads despite the coldness of it all. 7.5/10

Contratiempo (The Invisible Guest) [Oriol Paulo, 2017, Spain] offers an outstanding and enjoyable thrilling ride. 7.5/10

Giant Little Ones [Keith Berhman, 2019, United States] An honest road to knowing your own self in the eyes of a boy transitioning to adolescence. 7.5/10

Never Not Love You [Antoinette Jadaone, 2018, Philippines] Beautifully and realistically written. It’s just really hard for me to like Reid’s character. 7.5/10 

Kaptn Oskar [Tom Lass, 2013, Germany] Only basic virtue - it is a beautiful film. Not only for its comfort. But for the old poetry of dust emotions. 7.5/10

Furie [Le Van Kiet, 2019, Vietnam] With great performance and thrilling choreography, Furie is one of the best action films of 2019. 7.5/10

The Awakening of Motti Wolkenbrunch [Michael Steiner, 2019, Switzerland, Germany] A funny glimpse at a life of an Orthodox Jewish man with a chemistry that gives you a hopeful ending. 7.5/10

Gerald's Game [Mike Flanagan, 2017, United States] Meticulously-directed, it is an outstanding adaptation of Stephen King's novel. 7.5/10

UnTrue [Sigrid Andrea Bernardo, 2019, Philippines] to put it simply, UnTrue is a thrilling rollercoaster ride. 7/10

Pailalim [Daniel Palacio, 2017, Philippines] 

Dear Ex [Chih-Yen Hsu, 2018, Taiwan] Features odd but genuine kind of love. It is funny, heartfelt, and charming all at the same time. 7/10

First They Killed my Father [Angelina Jolie, 2017, United States, Cambodia] sincerely and sensitively paints a portrait of a country's tragic history. 7/10

4 Latas [Gerardo Olivares, 2019, Spain] For all its nonsense, I enjoyed it. 7/10

Green Book [Peter Farrelly, 2018, United States] Flawed yet entertaining -- not sure if it's good or bad though. 6.5/10

Pihu [Kapri Vinod, 2018, India] Heartbreaking torture. Although I feel like it could have ended better. 6.5/10

Lionheart [Genevieve Nnaji, 2018, Nigeria] Although everything here felt familiar, there's charm that makes this film an enjoyable one. 6.5/10

Unbreakable

Triple Frontier [JC Chandor, 2019, United States] I have a problem with its exploitation of violence. I have a bigger problem for liking it. 6.5/10

28 Weeks Later

Iska [Theodore Boborol, 2019, Philippines] I find a lot of things problematic and some choices uncharacteristic but it is worth a watch. 7/10

Searching

Period. End of Sentence

Battle

Oversized Cops

Floating [Julia Kaiser, 2015, Germany] 

The Bar

Ang Babae sa Septic Tank 3

Mga Mister ni Rosario [Alpha Habon, 2018, Philippines]

Misteryo dela Noche

Of Love and Other Demons

Tanabata’s Wife

26 Years [Geun Hyeon-Jo, 2012, South Korea] Yet another thrilling revenge story from the country who does it best. 7/10

Mga Batang Poz

Aurora

Becks

Mowgli: Legends of the Jungle

Cargo

Neomanila

47 Metres Down

The Feels

Dead Kids [Mikhail Red, 2019, Philippines] Is probably my least favourite Mikhail Red movie. Overrated in every sense. 7/10

Fyre: The Greatest Party that Never Happened

Svaha: The Sixth Finger

Flavors of Youth

Miss Granny

Unicorn Store

Captain Marvel

Polar

Black Mirror: Bandersnatch [David Slade, 2018, Untied States] Liking a film is always about the experience and while Bandersnatch offers another take on the medium, it is somewhat a less impactful experience as expected. 7/10 

Open [Andoy Ranay, 2019, Philippines]

Psychokinesis [Yeon Sang-ho, 2018, South Korea] Nothing much to offer but a good Sunday watch with the family. 6.5/10

Elise [John Ferrer, 2019, Philippines] I’m sorry, I don’t understand the hype. 6/10 fpihu

Novitiate 

A Tiger in Winter

Suddenly 20

Eli [Ciaran Foy, 2019, United States] 

Remastered: Devil at the Crossroads’

Alipato: Ka Luis Taruc Story

The Tenants Downstairs

Hotel Mumbai

Muerte en Buenos Aires

How to Get Over a Break Up

Buried

Never Tear Us Apart

A Simple Favor

To All The Boys I’ve Loved Before

Goyo: Ang Batang Heneral

Rainbow’s Sunset

Malamaya

Boy Erased

Still Human

Coach Carter

The Perfect Date

In the Tall Grass [Vincenzo Natali, 2019, United States] Fun at first until it gets dragging. Really dragging. 5/10

Bohemian Rhapsody

Metro Manila [Sean Ellis, 2014, United Kingdom] I know it's not right to say I've seen better, but yes, I've seen better. 6.5/10

Mr and Mrs Cruz

Pet Semetary

When Angels Sleep

Belle Douleur

Children of the River

Maria

The First Purge

Liberated: New Sexual Revolution

Toc Toc

Four Minutes

Mama

7 [Nizar Shafi, 2019, India] 

Vine Country

Isn't it Romantic?

The Nun

Pandanggo sa Hukay

The Silence

KL Zombi [MJ Woo, 2013, Malaysia] A "horror" for a good laugh.

An1 (The Harvest)

Girls With Balls [Olivier Afonso, 2019, France] I don't have the balls to sit through this movie. 2/10

The Roommate [Christian Christeansen, 2011, United States] BLAH 1/10

Tabon [Xian Lim, 2019, Philippines] is one of the worst movies of the year. Nuf said. 0/10

[the-land-of-nerd-blog-blog]

Fernando Mereilles wants Michael Fassbender to play Bobby Kennedy in "Nemesis." Hmm...interesting...

[thefranceschronicles]

the blind can see

i couldn't quite put a finger on the film Blindness, i was getting restless while watching it. i wanted so much to like the film because i'm a huge fan of Fernando Mereilles, director of City of God. I loved the latter so i had high expectations of his latest film. It was not exactly bad, i guess it just did not suit my taste. It's one of those post-apocalyptic movies where the characters were infected with some sort of a virus but this time in the form of blindness.

Some things did not make sense in the film. First off, the character played by Julianne Moore was allowed to go with her husband in the facility when it was pretty obvious that she was not "infected." All she had to do was to tell the quarantine team, quite casually even, that she had suddenly gone blind. Second, while they were in the facility, it was obvious that she could see as she could easily find her way through the place when everyone else kept on bumping into each other. It was pretty weird that only one person was able to figure out that she was not blind and that person was killed during the second half of the movie. Quite convenient eh? Third, all those quarantined were left basically to fend off for themselves without any medical team to take charge of them. I understand that the reason why they were placed in the facility was because they wanted to contain the virus and avoid further contamination. But shouldn't there be at least a group from the "outside" world to facilitate the whole thing and provide order in the area? The guards did not help either as they were busy acting like pigs and would shoot at anyone they felt like it. Fourth, where did the character played by Diego Luna got his gun? Did he happen to just bring it along with him when he was taken in the facility? Or did i just miss that part when he acquired the weapon? Fifth, when they were finally free to leave the facility and the whole city turned out to be in a post-apocalyptic state, Julianne invited the group she was with to her house and it was intact when everything else in the city were either destroyed or ransacked. They also had dinner complete with wine and anchovies. In the end, the Japanese guy who was first inflicted with white blindness got his sight back signifying that the rest will soon be back to their normal physical condition. It was supposed to be a happy ending but sadly i did not feel it. 

It was a beautifully shot film though especially with Mereilles' signature stylized shots and fast-paced editing. It reminded me of Children of Men, another film with almost similar theme and i liked that one better. It was as dreary as Blindness but it worked for me.