(may contain spoilers)
The Brutalist
Douban rating: 7.2
Director: Brady Corbet
Starring: Adrien Brody, Felicity Jones, Guy Pearce
Douban Comments: “Setting aside the exact meaning of “brutalist,” this film is a rare recent example that can be appreciated both for its technical mastery and performances – something you can sit down and watch quietly. Films that focus too much on technical prowess often fall into the trap of being hollow in content, or their visual beauty feels disconnected from the story’s rhythm. However, this film, with its well-structured narrative, epic length, and gradual introduction of main characters, perfectly matches the texture of 70mm film and the ambition of shooting entirely in VistaVision.
The soundtrack flows like a river, sometimes winding, sometimes surging, as if it were another character with something to say. Another crucial ‘character’ is the grand cathedral, built from the ground up, which at moments evokes the meta-cinematic feel of Herzog’s Fitzcarraldo.
In terms of performances, Adrien Brody and Guy Pearce deliver solid work, but they are not the whole story. Felicity Jones, who only fully appears in the second half, is equally impressive. The marriage of the Laszlo couple is not the film’s main focus, but Jones’ character plays a vital role – like the third leg of a triangle, bringing balance and stability to the film’s character dynamics.”
“The Brutalist has a somewhat dragged-out and detached narrative. The characters and generational themes feel somewhat abstract – while set in a specific time period and featuring particular ethnic backgrounds, the film doesn’t fully flesh out its characters’ inner worlds. For example, the protagonist’s determination, his devotion to family and the American Dream, and how that dream gradually crumbles lack key visual and auditory contrasts or hints for the audience. As someone without a refugee’s perspective, it was a bit harder to fully empathize.
That said, the cinematography, costume, and production design are truly outstanding. So many scenes were visually striking – pure technical mastery by the filmmakers. The triangular blocking in the coal mine scene was memorable, as was the long take following the actors during the Welcome to America sequence. The overexposed shot that revealed the Statue of Liberty in the sky was breathtaking – only film could capture that texture.
The production team was meticulous, even incorporating an intermission countdown directly onto the film reel. While the Alice Tully Hall screening was limited to 35mm, the director made a special effort to present a 70mm version at Walter Reade. If the pacing were a bit tighter and the dialogue more condensed, it would be near perfect. Initially, it felt a bit long, but the more I reflect on it, the more it lingers – I already want to watch it again.”
Conclave
Douban rating: 7.4
Director: Edward Berger
Starring: Ralph Fiennes, Stanley Tucci, John Lithgow
Douban Comments: “Using the concept of a church election to satirize global politics is executed remarkably well. The balance between sharp dialogue and symbolic expression is also impressive. The line “Certainty is the great enemy of unity. Certainty is the deadly enemy of tolerance……” is particularly brilliant – it frames the dangers of a binary, black-and-white society in a completely apolitical way, highlighting how people find both pleasure and downfall in such simplistic thinking.
The third-act twist is both unexpected and entirely logical, delivering a striking conclusion. When the window (literally) is thrown open and the truth is laid bare, all the armchair strategists and power players finally confront the real, urgent issues – shifting their focus back to faith rather than just the institution of the Church. In doing so, the Vatican comes to represent not the past but the future (perhaps even too forward-thinking).”
“On the surface, it is a polished yet hollow political spectacle dominated by elderly white men scheming for power, the paradoxical ending – both exploitative and empowering – adds an unexpected layer of depth. On one hand, the shocking final twist uses the experience of gender and queerness as a narrative device, framing it as a spectacle to be consumed. Yet on the other, the film takes an overtly celebratory stance toward the defiant intersex figure who ultimately claims the papacy, presenting it as a triumphant victory against Catholic tradition.
Though Benítez, in a supporting role, remains underdeveloped, and the accumulation of certain stereotypes risks veering into mainstream tokenism, the film’s imperfect representation still carries an undeniable resonance. Even with its flaws, it contributes to a broader progressive call for change – one that lingers beyond the screen.”
I’m Still Here
Douban rating: 7.9
Director: Walter Salles
Starring: Fernanda Torres, Selton Mello, Fernanda Montenegro
Douban Comments: “In Venice I just saw my favorite movie so far. It’s rare to see such a heavy and public event like political persecution told from the perspective of a small family unit. The film’s use of media – film cameras, photographs, and 50 years of visual records preserving memories – is deeply moving.
The first half-hour builds tension with subtle details, slowly revealing the hidden fear beneath everyday life, setting the stage for an emotional release later. The film never relies on excessive drama. Instead, it layers emotions through small moments, facial expressions, and actions. The mother’s resilience, gentle strength, and care for her children’s emotions show another side of the struggles, conflicts, and trauma these families face.
Despite the darkness, the film is not about trauma itself but about how a family heals. Love, companionship, and growing trust fill every moment.”
“I cried so hard in the theater. I absolutely love this story.
The first half feels like a Brazilian version of In the Name of the People – a story of the present, grounded in reality. The second half is about how an individual life transcends political barriers – a journey to the other shore. In the end, what people seek is proof that you existed, that you witnessed the truth.
The protagonist is a wife, a mother, and a victim of political forces. This film is Brazil’s The Great Flowing River – so sorrowful, so joyous, so unique.
Here, history is not a discarded or rewritten toy; it is a ghost that returns again and again. And memory, too, keeps coming back to life on the screen.”
