The 44th edition of genre film festival Fantasporto, which runs in Portugal’s second city Porto from March 1-10, has bestowed its best film award on Japanese sci-fi fantasy pic “From the End of the World,” directed by Kaz I Kiriya.
The movie follows 10-year-old Hana, whose dreams transport her across various eras in Japanese history, and have the ability to save humanity.
The jury’s special award went to “The Complex Forms,” Italian director Fabio D’Orta’s debut feature. The sci-fi horror centers on a man who has sold his body so it can be possessed by a creature of unknown nature.
The prize for best direction was nabbed by Spanish filmmaker Gonzalo López-Gallego for horror movie “The Shadow of the Shark” (La Sombra del Tiburon). In the film, a young woman, Alma, is undergoing therapy as she is unable to sleep. With the help of surveillance cameras, she...
The movie follows 10-year-old Hana, whose dreams transport her across various eras in Japanese history, and have the ability to save humanity.
The jury’s special award went to “The Complex Forms,” Italian director Fabio D’Orta’s debut feature. The sci-fi horror centers on a man who has sold his body so it can be possessed by a creature of unknown nature.
The prize for best direction was nabbed by Spanish filmmaker Gonzalo López-Gallego for horror movie “The Shadow of the Shark” (La Sombra del Tiburon). In the film, a young woman, Alma, is undergoing therapy as she is unable to sleep. With the help of surveillance cameras, she...
- 3/9/2024
- by Leo Barraclough
- Variety Film + TV
Stars: João Arrais, Anabela Moreira, Gustavo Sumpta, Leonor Silveira, Miguel Amorim, Ivo Arroja, André Cabral, João Cachola, Vicente Gil | Written and Directed by Carlos Conceicao
For me, it can only be a good thing when I say that Tommy Guns is like no film I have ever seen before. It covers several genres and with the genre shifts, almost feels like it’s changing the story each time – whether it covers wartime drama, zombie flick or art house, it’s always engaging.
The story begins in 1974, just one year before the country’s independence from decades of Portuguese rule. Wealthy colonists are fleeing the country as Angolan revolutionaries gradually claim their land back. A tribal girl discovers love and danger when her path crosses that of a Portuguese soldier. Another group of soldiers, completely cut off from the outside world, blindly follow the brutal orders of their commander in the name of serving their country.
For me, it can only be a good thing when I say that Tommy Guns is like no film I have ever seen before. It covers several genres and with the genre shifts, almost feels like it’s changing the story each time – whether it covers wartime drama, zombie flick or art house, it’s always engaging.
The story begins in 1974, just one year before the country’s independence from decades of Portuguese rule. Wealthy colonists are fleeing the country as Angolan revolutionaries gradually claim their land back. A tribal girl discovers love and danger when her path crosses that of a Portuguese soldier. Another group of soldiers, completely cut off from the outside world, blindly follow the brutal orders of their commander in the name of serving their country.
- 4/18/2023
- by Alain Elliott
- Nerdly
Portugal’s colonial past in Africa continues to haunt some of the country’s most vital and subversive filmmakers. With his remarkable second feature “Tommy Guns,” Angolan-Portuguese director Carlos Conceição’s steps into the same precarious territory sometimes occupied by Pedro Costa and Miguel Gomes — borrowing, perhaps, a measure of the former’s visceral austerity and the latter’s shape-shifting playfulness, but mostly proving his own sly, supple talent. Formally and structurally audacious in ways that build in power and meaning as the film unfolds, this study of a Portuguese military squad gradually unraveling in a remote, bloodied wilderness begins with a clear sense of time, place and space, before collapsing those certainties in a horror-tinged nightmare that nods to the sprawling impact of colonialism across eras.
That brush of genre influence — comparable, in its subtle, dimension-twisting fluidity, to Mati Diop’s recent “Atlantics” — ought to heighten interest around “Tommy Guns...
That brush of genre influence — comparable, in its subtle, dimension-twisting fluidity, to Mati Diop’s recent “Atlantics” — ought to heighten interest around “Tommy Guns...
- 8/9/2022
- by Guy Lodge
- Variety Film + TV
This brief but engaging documentary celebrates Lisbon’s vibrant African-Portuguese music scene
There is a short, sharp blast of energy in this brief music documentary by DJ Rita Maia and cinematographer Vasco Viana about the African-Portuguese music scene in Lisbon’s outer suburbs, the “corrugated villages” that appeared after the 1970s. It is not quite right to call this ghetto culture; the milieu is more nuanced and complicated than that in terms of nationality, race, generation and class, although it is certainly pretty male.
The music is an engaging mix of digital and analogue, new and old. A lot of it comes from DJs with Mac Book Pros and music-editing software and who play marathon-length parties. A lot more comes from traditional instruments such as a Ferro player, a percussive instrument lying over the shoulder like a length of steel that produces a weirdly hypnotic thrumming noise, and a kora,...
There is a short, sharp blast of energy in this brief music documentary by DJ Rita Maia and cinematographer Vasco Viana about the African-Portuguese music scene in Lisbon’s outer suburbs, the “corrugated villages” that appeared after the 1970s. It is not quite right to call this ghetto culture; the milieu is more nuanced and complicated than that in terms of nationality, race, generation and class, although it is certainly pretty male.
The music is an engaging mix of digital and analogue, new and old. A lot of it comes from DJs with Mac Book Pros and music-editing software and who play marathon-length parties. A lot more comes from traditional instruments such as a Ferro player, a percussive instrument lying over the shoulder like a length of steel that produces a weirdly hypnotic thrumming noise, and a kora,...
- 7/17/2019
- by Peter Bradshaw
- The Guardian - Film News
Comedy-drama added to Cannes sidebar.
Cannes Film Festival’s Directors’ Fortnight sidebar has added Portuguese director Pedro Pinho’s feature debut The Nothing Factory to its 2017 selection.
The comedy-drama (with an occasional music number, according to a Cannes release) will play as a special screening. The majority of the Directors’ Fortnight line-up was revealed last week.
The film was produced by João Matos and Jorge Silva Melo for Portuguese outfit Terratreme. Pinho co-wrote the script with Leonor Noivo, Tiago Hespanha and Luisa Homem.
It follows a group of factory workers who go on strike in an attempt to block the relocation of their workplace by its crooked owners.
Vasco Viana was the cinematographer and the film was shot on 16mm. Cláudia Oliveira was the editor and João Gazua handled sound.
According to a statement from Directors’ Fortnight artistic director Édouard Waintrop, the film “dissects and riffs on the subject of de-industrialization, unemployment, and the...
Cannes Film Festival’s Directors’ Fortnight sidebar has added Portuguese director Pedro Pinho’s feature debut The Nothing Factory to its 2017 selection.
The comedy-drama (with an occasional music number, according to a Cannes release) will play as a special screening. The majority of the Directors’ Fortnight line-up was revealed last week.
The film was produced by João Matos and Jorge Silva Melo for Portuguese outfit Terratreme. Pinho co-wrote the script with Leonor Noivo, Tiago Hespanha and Luisa Homem.
It follows a group of factory workers who go on strike in an attempt to block the relocation of their workplace by its crooked owners.
Vasco Viana was the cinematographer and the film was shot on 16mm. Cláudia Oliveira was the editor and João Gazua handled sound.
According to a statement from Directors’ Fortnight artistic director Édouard Waintrop, the film “dissects and riffs on the subject of de-industrialization, unemployment, and the...
- 4/25/2017
- by tom.grater@screendaily.com (Tom Grater)
- ScreenDaily
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