Claiming Justice for the People, Now and Then

Claiming Justice for the People, Now and Then
27 setembro 13:10 2018 Imprimir

By Roger Costa


In this dark epic set amidst the 1840’s Famine genocide in Ireland, a deserter soldier returns home only to become disappointed by the British Army he served, as he realizes his family and people were starved to death, imprisoned and stolen from their own homes. Determined to find those responsible and avenge the dead ones in the name of honor, he goes on a tireless hunt, defying a heavily-armed group sent to capture him. A smash-hit at the Irish box-office, where it became the highest-grossing picture of 2018, accomplished director Lance Daly’s sixth feature is his best and most satisfying work since his award-winning kids-romance “Kisses”. Telling the Famine story seen through the suffers’ perspectives for the first time in movie history, the film also raises awareness for the historical tragedy that claimed more than 1 million lives. A phenomenal ensemble cast including Stephen Rea, Guy Pearce, Jim Broadbent and rising-star Barry Keoghan, are among the brilliantly convincing actors, but the show belongs entirely to James Frecheville as lone-soldier, rage-filled Feeney, and Hugo Weaving, as the merciless Captain after him. They both share a mysterious connection, involving duties from the past, and each deliver passionate, furiously detailed performances centered on their inner emotions- grief, loss, fear and revenge. Director Daly also scores a higher level of cinematic efficiency, managing a spectacular production with total control of the material, proving to be a devoted craftsman. As he previously masterly conceived delicate, funny, insightful stories, now he magnificently exercises a fast-paced, brutally violent aesthetic with equivalent results. As the protagonist hides in the dark, and puts down one by one of his nemesis, claiming justice in the name of his people, this stylish, astonishingly shot Western maintains the audience on the edge with plenty of chills and thrills, and its terrifyingly impressive bloodshed. (IFC Films. 9/28. IFC Center.)


Boys prepare for a football tournament; a baby euphorically runs around the living room; a pregnant teen awaits to deliver her twins; women tell stories while men ride their horses. These are only a few of the enigmatic, observational, metaphorical images gathered by first time documentarian/cinematographer RaMell Ross. Winner of the Special Jury Prize at this year’s Sundance, Ross composes a poetical, realistic and very intimate portrait of an African-American community in the South, capturing preciously curious moments of life itself. As the camera follows young dreamer Quincy Bryant, listening to his perspectives on America’s racial heritage and personal dilemmas, while mingling around the idyllic quiet town, meeting up friends, relatives and role models, the film builds up a beguiling canvas of this generation’s troubles and aspirations, anxiously awaiting for maturity and social inclusion. Inspiringly shot, it’s a meditation on routine, daily-living, communion and hope. (Cinema Guild. 9/28. Museum of the Moving Image.)


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