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I could come here and say that City of Angels is painful and beautiful — but I’d be lying about everything I actually feel for this film.

I recently decided to rewatch it, trying to give it another chance and understand what so many people see as touching in this story. But the truth is, the discomfort not only remained — it deepened. I don’t see beauty here. To me, their relationship isn’t romantic — it’s selfish. I don’t see true, mature, or sensitive love. What I see is egoism, on both sides.

Sorry if this sounds harsh, but going to someone’s secluded world and delivering an emotional ultimatum like “if you don’t come to me, I’ll marry someone else” — and walking away as if that were the right thing to do — sounds like manipulation to me. And suddenly, that’s enough for him to give everything up?

I can’t find beauty in a love that disregards the other person’s life, sacrifices, and reality. Her death didn’t move me — it felt cold, emotionless. In the end, I felt sorry for him. He gave up everything: immortality, safety, the life he knew… and what was left?

What stayed with me was simply the harsh truth that wanting something too much can end up costing you everything.

Oh — and the song “Iris” by the Goo Goo Dolls. At least that was worth it.

Watched on Sunday May 11, 2025.

Watched on Saturday May 10, 2025.

Watched on Friday May 9, 2025.

Watched on Sunday May 4, 2025.

Paris, Texas surprised me in a way that I always talk about it whenever I get the chance. Then, Alice in the Cities, with its quiet beauty, also left a mark on me, and now, Perfect Days, with its serene calmness and subtle beauty, has won my heart. The film, with its introspective pace and few dialogues, never made me feel lost. On the contrary, it felt like a journey of silent observation of life around us.

The absence of constant speech becomes almost a comfort element, allowing us to connect deeply with the characters and the little details that make life so rich and meaningful. The cinematography is flawless, with images that capture the essence of everyday life in a sensitive and poetic way. Every shot feels like a painting, inviting the viewer to dive into the unspoken emotions, yet felt. The soundtrack, equally impressive, complements the atmosphere with songs that perfectly fit each moment, elevating the experience.

Perfect Days, for me, has become a comfort film — that kind of movie that, even with its simplicity, conveys a unique emotional depth. The way the everyday, the small gestures, the nuances of life are shown to us creates a connection that goes beyond words.

Watched on Thursday May 1, 2025.

Watched on Saturday April 26, 2025.

Watched on Saturday April 26, 2025.

Watched on Saturday April 26, 2025.

Red is beautiful, striking—almost a protagonist in the film Conclave. It's a color often used in audiovisual works and, curiously, never one of my favorites—but here, it left me in awe. Visually, I have no complaints. The scenes are well-constructed, and the atmosphere is strong and immersive. However, I can’t say the same for the story’s development.

Despite its two and a half hours of runtime, Conclave felt rushed. Paradoxically, I was never bored, but by the end, it felt like everything happened too quickly for a story with such weight. Some narrative choices seem unrealistic when brought into the context of real life. For instance, no matter how powerful a speech might be, it’s hard to believe that someone newly arrived—about whom so little is known—would win a vote to become Pope, a position of immense global responsibility. How can we trust someone we barely know?

The protagonist, on the other hand, is layered in an interesting way: ambitious, undeniably desiring the role even as he tries to deny it until the end. And among the cardinals presented, he might have been one of the most qualified to take on the role. But he lacked the most essential element: faith. And in that context, it’s what matters most.

Conclave is a good film—not excellent, but certainly compelling. Especially when we consider that, eventually, the world will have to face the difficult reality of choosing a successor to Pope Francisco, whose leadership has been defined by comion and advocacy for marginalized communities. As a viewer and global citizen, I it I feel some anxiety. It's hard not to worry that the next pontiff might not follow this same path of inclusion and transformation—and that the legacy built so carefully could, somehow, be left behind.

Watched on Saturday April 19, 2025.

Watched on Tuesday April 15, 2025.

Watched on Saturday April 12, 2025.

During a class on German Expressionism, the professor mentioned M, by Fritz Lang. The film had been on my watchlist for a while, but in that moment, it felt like a sign to finally see it. Luckily, a special on Lang’s filmography was airing on TV, so I took the opportunity.

I’ll it, the beginning felt a bit slow—though to be fair, I started watching it completely exhausted. But in the second half, the suspense builds, and the story pulls you in. The plot follows the hunt for a child murderer, but Lang doesn’t rely on graphic imagery. The horror lies in the subtext, in the psychological tension—and that’s what makes it so powerful.

What struck me the most, however, was the ending. Lang doesn’t treat M as just a crime thriller. He challenges the viewer, makes us think. The murderer, played brilliantly by Peter Lorre, is not portrayed only as a monster—even though society sees him that way—but also as someone deeply disturbed, tormented by impulses he can’t control. His constant whistling becomes a symbol of guilt and inner torment.

In the end, the people demand his execution, while the defense lawyer asks for another perspective: what if he’s mentally ill? The film closes without a clear sentence, leaving the question hanging—and with it, a weight that lingers long after the credits roll.

Watched on Thursday April 10, 2025.

After watching My Own Private Idaho, I became truly obsessed with River Phoenix’s career. I’ve ed almost all his films (still working through a few), but Stand by Me was different. I didn’t have to go searching for it—luckily, my dad had the DVD at home. We sat down and watched it together. From beginning to end, it was beautiful.

The way the film portrays friendship and growing up is so sincere, it almost hurts. It’s intimate, personal. It speaks of a time that’s ed but still lives inside us. I, too, had friends when I was twelve, most of whom I’ve lost with. But like Gordie, I had a best friend—maybe the best I’ve ever had in my life. It was a genuine friendship, the kind you think you’ll carry with you forever. I wish it had been like that. Life ended up leading us down different paths, and now, at nineteen, I have no idea where she is. But wherever she is, I truly hope she’s doing well.

I don’t think I’ve ever called anyone “best friend” again. The memory stayed. That was enough.

I love the cinematography in this film. It makes everything feel even more immersive. The natural landscapes, the golden sunlight on the railroad tracks, the quiet moments between the characters… everything carries the feeling of a summer that leaves a mark on your soul. The soundtrack is spot-on too—nostalgic, gentle, with that taste of lost time we try to hold onto in our hearts

Stand by Me is an emotional and touching film, a classic that still speaks to us even after all these years. I bought the book a while ago but haven’t found the time to read it yet. Maybe soon. For now, the film has already given me so much—memories, longing, and that familiar ache in the chest that only good stories can leave behind.

Watched on Sunday April 6, 2025.

Watched on Sunday April 6, 2025.

Watched on Wednesday April 2, 2025.

I spent half an hour staring at my computer screen, wondering if I truly understood this film. I'm almost sure I didn't. I'm confused, but I made my interpretation in my own way, based on the moment I’m in. Maybe it's an incorrect reading, but for now, it’s the only one that makes sense to me.

This was my first film by Andrei Tarkovsky. I’ve heard a lot about his work, but only now have I decided to appreciate it. Nostalgia follows Andrei Gorchakov, a Russian poet who travels to Italy to research a composer from the past. Along the way, he’s accompanied by Eugenia, his interpreter, and crosses paths with Domenico, a man considered mad for believing that the world needs to be saved.

The protagonist, Andrei, is immersed in a constant nostalgia for Russia, for his home, for his identity. But as we watch, I keep wondering: is this longing just for a place, or is there something deeper? Andrei talks about his family, his country, but his tone doesn’t match this longing. I don’t see the love he should be expressing. To me, it seems he doesn’t miss something physical—perhaps his nostalgia is for the lack of a purpose, something that would make him truly feel at home. Something more internal, something he has never found.

Domenico, on the other hand, has an almost naive faith that humanity can be saved through small gestures. But in the end, his speech and sacrifice are ignored. Nothing changes. His desperation is real, but the world remains unchanged.

As for the final scene, well, I’m still processing it all. I’m not sure what to think about it. Maybe, if I watch Nostalgia again in a few years, my perspective on the film will change. Perhaps what I feel about it today will be different with time.

Roman Holiday is my comfort movie. Every time I watch it, I feel a warm fuzzy feeling, like I'm rediscovering something precious. I'm quite critical when it comes to romances that happen in a day or two, and I can hardly believe them because they often seem rushed and artificial (like I felt with "West Side Story"). But here, everything flows so naturally and charmingly that it's impossible not to fall in love.

Ann and Joe's journey begins with different interests: she seeks a moment of freedom away from the responsibilities of royalty, while he sees the chance to write a great story for the newspaper. And yet, throughout the film, what develops between them is something genuine, unhurried, and unexaggerated. Their friendship turns into something more, but without ever seeming forced. Audrey Hepburn and Gregory Peck have incredible chemistry – their looks, their small gestures, everything oozes sincerity.

The ending is what makes Roman Holiday even more special. Yes, it's sad, but it's also perfect. There's something beautiful and bittersweet about the two of them saying goodbye, that silent exchange of glances, the outstretched hand as if they wanted to hold on to the moment for just one more second. As Ann shakes hands with each reporter, I feel the anticipation building, waiting for the moment when she and Joe face each other one last time. It's a simple goodbye, but a powerful one. In the end, she needed to come back, and he knew it. And perhaps it's exactly this reality that makes the film so unforgettable.

I won’t lie, I expected a little more. But that doesn’t mean it was a disappointment. There are elements in Blue that are impossible to ignore: the melancholy, the silent pain of grief, the weight of loss, and the way Julie learns to move on in her own way. Juliette Binoche delivers a sensitive and powerful performance, capturing every nuance of this process – the sadness, the anger, the attempt to start over.

From the title, I imagined that the color blue would be even more present in the film, and I confess that I missed it. Even so, what is there is used with purpose and accompanied by beautiful photography. The narrative is subtle and contemplative, more focused on feeling than on explaining. Maybe I'm spoiled, expecting more information when, in fact, the essentials are already there.
Now, I move on to the next film in the trilogy, curious to see what else it has to offer.

Watched on Saturday March 22, 2025.

Watched on Saturday March 22, 2025.

Watched on Saturday March 22, 2025.

Watched on Friday March 21, 2025.

Watched on Friday March 21, 2025.

Como sempre, o cinema brasileiro alimentando meu amor pelo audiovisual. Assisti Vitória e me encantei do início ao fim. O filme é belíssimo e intenso, e foi impossível ar pelas cenas de tiroteio sem sentir o desespero e o desconforto de Dona Nina. Fiquei me perguntando como deve ser viver assim, ouvindo esses sons todos os dias, sem conseguir dormir, sempre com medo.

O ritmo do filme não é acelerado, ele se desenrola com calma, mas me prendeu tanto que pareceu ar em segundos. As atuações são todas muito boas, mas, como era de se esperar, Fernanda Montenegro entrega uma performance impressionante. Cada fala, cada movimento dela carrega uma força enorme, e é impossível não se emocionar. Logo no início, a solidão da personagem já é sentida de maneira brutal – ela não tinha ninguém, sua única companhia era um menino que, infelizmente, acabou no caminho do tráfico. Ainda assim, ele teve um papel essencial, ajudando-a a se salvar. A coragem de Dona Nina é algo irável.

A história é verdadeira, o que torna tudo ainda mais impactante. Fico feliz por ver Fernanda Montenegro dando vida a essa narrativa e por termos uma produção nacional que conta a história de Joana Zeferino, uma trajetória que merece ser conhecida. Gostaria muito que Joana tivesse tido a oportunidade de ver um filme sobre sua história, como ela sonhava.

Watched on Tuesday March 18, 2025.

Watched on Tuesday March 18, 2025.

Watched on Tuesday March 18, 2025.

Watched on Saturday March 15, 2025.

Watched on Friday March 14, 2025.

Watched on Friday March 14, 2025.

Watched on Wednesday March 12, 2025.

Watched on Saturday March 8, 2025.

"I always know where I am by the look of the road."

I first heard about this movie by chance while searching for new music on YouTube. I came across a song that started with a line from the movie. At the time, I had no idea that I would one day go to film college, but that moment stuck with me. I spent weeks obsessing over it, trying to figure out where it came from. After months, I finally got around to watching it and getting the full experience.

It was the first film I saw with River Phoenix (yes, I only watched Stand By Me years later), and it left a mark on me in a painful and beautiful way. There is a unique sensitivity in the way My Own Private Idaho builds its characters and their relationships. I think it was this film that awakened in me my love for independent cinema.

We follow two characters in opposite realities: Mike, who prostitutes himself to survive, and Scott, who does so as a form of rebellion against his rich father.At first, their friendship has an interesting dynamic, and knowing that River Phoenix and Keanu Reeves were friends off camera makes it all the more special.From the very first scene, there is a sense of discomfort due to the context, due to what it suggests about Mike's life. Over time, we realize how important this friendship is to him, which makes the impact even stronger when it falls apart.

It’s impossible not to feel angry at Scott. The way he just moves on, leaving Mike behind as if nothing happened, is heartbreaking. The impact this has on River Phoenix’s character is clear. One scene that sticks in my mind is him watching a cartoon and smiling for a brief moment, until we why he’s there. At first, the two seemed inseparable; by the end, Mike is sleeping on the street while Scott drives by, moving on with his new life.

My Own Private Idaho has long been one of my favorite films, and it remains an experience that I carry with me not only because of the impact it had, but because of the way it entered my life. I like to think that, in the end, it is Scott who catches Mike, finally realizing what he left behind. Maybe that’s not what the film intended, but it’s the interpretation I choose to keep.

"Wherever, whatever, have a nice day."

Watched on Saturday March 8, 2025.

Watched on Saturday March 8, 2025.

I find it curious that I still don't have a fully defined opinion about Ridley Scott's work. In some films, he really captivates me, while in others he leaves me more distant. I don't take away his merit, especially because there are films that made me start to appreciate his work more.
I watched the short version of Kingdom of Heaven (actually, it was the version I found), and although I felt that the film had interesting points, it failed to fully engage me.The central issue of religious intolerance is well addressed and I enjoyed it a lot, but the narrative as a whole didn't engage me as much as I expected. Orlando Bloom's character, for example, could have been more developed. He seemed like just another common character in a battle movie, which, in my opinion, hurt the film's dynamics. Even though the premise had potential, the protagonist's development wasn't explored as it should have been.
On the other hand, Edward Norton's character, although he has little screen time, caught my attention. Even without showing his face, he managed to convey emotions in a subtle way, which is a merit of his performance.
The film's photography also impressed me, especially from the opening scene, when we can already see how the film's visual beauty stands out. Throughout the story, the cinematography continues to add to the film's atmosphere, making each scene enjoyable to watch.
Overall, Kingdom of Heaven has its strengths, but it also left me feeling like it could have been more engaging. Now, I'm going to try watching the extended version and see if I change my mind.

Watched on Wednesday March 5, 2025.

Resolvi reassistir esse filme após sua vitória no Oscar. Algo que sempre gostei no meio cinematográfico é como um filme pode mexer com a gente de maneiras tão diferentes. Para mim, "Anora" teve um impacto enorme; para outras pessoas, nem tanto. E isso é o que torna o cinema tão interessante: a possibilidade de debater e entender diferentes perspectivas, desde que haja um mínimo de respeito.

Eu realmente amei esse filme, e posso repetir isso quantas vezes for preciso. Para alguns, pode ter sido mediano ou chato, e está tudo bem. Para mim, foi uma experiência intensa. No início, o filme nos dá esperança, um sonho a ser realizado. Depois, se torna uma comédia envolvente (eu ri muito na cena da invasão). Mas, ao longo da trama, essa esperança vai sendo destruída, até culminar naquele final brutal. Eu amo filmes que deixam a gente destruído no final, e esse conseguiu fazer exatamente isso. Foi doloroso.

Muita gente critica o segundo ato, dizendo que a protagonista se torna coadjuvante. Eu, pessoalmente, acho isso proposital. Ela mesma não se enxerga mais ali. E à medida que o filme avança, o público vai se decepcionando junto com ela.

Sobre o Oscar, como fã dos filmes do Sean Baker, ver um filme independente levar o prêmio foi incrível. Quanto à vitória da Mikey, sim, a melhor atuação entre as indicadas era da Fernanda Torres(minha favorita). Mas eu realmente achava que a Demi Moore levaria. No entanto, sendo bem sincera, na minha opinião, a Mikey atuou melhor do que a Demi. Claro, a Demi tinha uma trajetória que tornava essa vitória importante, mas no fim, a escolha foi outra. E eu não fiquei chateada. A Mikey foi bem, e fiquei feliz por ela.

Agora, algo que tem me incomodado bastante:

Gosto é subjetivo. Ninguém é obrigado a gostar do filme. Mas há uma diferença entre expressar uma opinião e espalhar ódio gratuito. Quando alguém chega ao ponto de desejar a morte de uma atriz simplesmente porque ela ganhou um prêmio, isso ultraa qualquer limite de decência. Gente dando meia estrela no Letterboxd não vai mudar o resultado. E o mais engraçado? A maioria dos que estão criticando o filme nem sequer assistiu.

Quer criticar? Ótimo, faz parte. Mas agir como uma criança birrenta só mostra o quão imaturo e patético esse tipo de comportamento é. Eu, pelo menos, adorei o filme e estou feliz com a vitória. E isso ninguém muda.

Brother? I went in with a lot of expectations, as I loved the first film, but man, what a total disappointment. I think what really irritated me about this film were the characters, this sequence isn't as engaging as the first, unfortunately while I was watching it I thought the film didn't matter. Anyway, I'm going to think about whether I'll watch the other two films in the franchise.

Watched on Thursday February 27, 2025.

Watched on Saturday February 22, 2025.

Watched on Tuesday February 18, 2025.

Watched on Monday February 17, 2025.

Watched on Monday February 17, 2025.

Watched on Monday February 17, 2025.