Saltar para: Posts [1], Pesquisa [2]

luís soares

Blog do escritor Luís Soares

Mais logo no São Jorge

A exibição de “Diamantino”, de Gabriel Abrantes e Daniel Schmidt, hoje no cinema São Jorge, marca a abertura da 22.ª edição do festival Queer Lisboa, “uma das mais comprometidas socialmente, politicamente e culturalmente” de sempre.

O VIH/SIDA no cinema, as migrações e a moda estão entre os temas em destaque nesta edição, que decorre até 22 de setembro e que, segundo a organização, é “porventura uma das mais comprometidas socialmente, politicamente, mas também culturalmente, da sua história”.


The most personal project to date from Academy Award®-winning director and writer Alfonso Cuarón (Gravity, Children of Men, Y Tu Mama Tambien), ROMA follows Cleo (Yalitza Aparicio), a young domestic worker for a family in the middle-class neighborhood of Roma in Mexico City. Delivering an artful love letter to the women who raised him, Cuarón draws on his own childhood to create a vivid and emotional portrait of domestic strife and social hierarchy amidst political turmoil of the 1970s. Coming soon. In Select Theaters and on Netflix.

Leading Lady Parts

This comedy short, written and directed by Jessica Swale, takes a sneak peek backstage as the cream of British acting talent step forward to audition for that dream role. They are primed to take on the role of a lifetime, that complex woman, the strong woman, a woman for today. A lady part who is more than just... lady parts.

The eclectic, award-winning cast includes Gemma Arterton, Gemma Chan, Emilia Clarke, Lena Headey, Tom Hiddleston, Felicity Jones, Katie Leung, Stacy Martin, Wunmi Mosaku, Florence Pugh, Catherine Tate and Anthony Welsh.

The hear her campaign aims to give free reign and the opportunity for normally unheard women from across the UK to tell their stories and give their opinions on all matters ‘women’. It aims to elevate these honest and uncensored opinions to make them un-ignorable.

Call Me By Your Name




Professor PERLMAN is sitting in his usual place, but his chair is turned out to face the garden. On his lap are proofs of his latest book. He is drinking. Three large citronella candles next to him keep the mosquitoes away.


ELIO comes into the room to say good night. His father puts away his manuscript with a toss and lights a cigarette – his last of the day - using one of the citronella candles.



So? Welcome home. Did Oliver enjoy the trip?



I think he did.


PERLMAN takes a drag from his cigarette, then pauses a moment before speaking.



You two had a nice friendship.



(somewhat evasive)



Another pause, and another drag on his cigarette.



You’re too smart not to know how rare, how special, what you two had was.



Oliver was Oliver.



“Parce-que c’etait lui, parce-que c’etait moi.



(trying to avoid talking about Oliver with his father)

Oliver may be very intelligent –



(interrupting his son)

Intelligent? He was more than intelligent. What you two had had everything and nothing to do with intelligence. He was good, and you were both lucky to have found each other, because you too are good.



I think he was better than me.



I’m sure he’d say the same thing about you, which flatters the two of you.


In tapping his cigarette and leaning toward the ashtray, he reaches out and touches Elio’s hand. PERLMAN alters his tone of voice (his tone says: We don’t have to speak about it, but let’s not pretend we don’t know what I’m saying).



When you least expect it, Nature has cunning ways of finding our weakest spot. Just remember: I am here. Right now you may not want to feel anything. Perhaps you never wished to feel anything. And perhaps it’s not to me that you’ll want to speak about these things. But feel something you obviously did.


ELIO looks at his father, then drops his eyes to the floor.



Look - you had a beautiful friendship. Maybe more than a friendship. And I envy you. In my place, most parents would hope the whole thing goes away, to pray that their sons land on their feet. But

I am not such a parent. In your place, if there is pain, nurse it. And if there is a flame, don’t snuff it out. Don’t be brutal with it. We rip out so much of ourselves to be cured of things faster, that we go bankrupt by the age of thirty and have less to offer each time we start with someone new. But to make yourself feel nothing so as not to feel anything - what a waste!


ELIO is dumbstruck as he tries to take all this in.



Have I spoken out of turn?


ELIO shakes his head.



Then let me say one more thing. It will clear the air. I may have come close, but I never had what you two had. Something always held me back or stood in the way. How you live your life is your business. Remember, our hearts and our bodies are given to us only once. And before you know it, your heart is worn out, and, as for your body, there comes a point when no one looks at it, much less wants to come near it. Right now there’s sorrow. Pain. Don’t kill it and with it the joy you’ve felt.


PERLMAN takes a breath.



We may never speak about this again. But I hope you’ll never hold it against me that we did. I will have been a terrible father if, one day, you’d want to speak to me and felt that the door was shut, or not sufficiently open.



Does mother know?



I don’t think she does.

(but his voice means “Even if she did, I am sure her attitude would be no different than mine”)


The Discarded Image: Episode 01 - Jaws (Spielberg, 1975) from Julian Palmer on Vimeo.

Welcome to The Discarded Image. A new online video series that analyses and deconstructs well known pieces of cinema. In this episode I look at the beach scene from Steven Spielberg's pop classic JAWS.


Here's a link to the beach sequence without commentary -


"Spielberg asserted his own role and deftly organized the elements of a roller coaster without sacrificing inner meanings. The suspense of that picture came from meticulous technique and good humour about its own surgical cutting. You only have to submit to the travesty of JAWS 2 to realize how much more engagingly Spielberg saw the ocean, the perils, and the sinister beauty of the shark, and the vitality of its human opponents."
David Thompson in The New Biographical Dictionary of Film

"Spielberg uses his gift in a very free-and-easy, American way - for humour, and for a physical response to action. He could be that rarity among directors, a born entertainer - perhaps a new generation's Howard Hawks."
Pauline Kael in her review of The Sugarland Express

Films Referenced:

Sabotage (Hitchcock, 1936)
Citizen Kane (Welles, 1941)
Rear Window (Hitchcock, 1954)
Vertigo (Hitchcock, 1958)
Pierrot Le Fou (Godard, 1956)
Weekend (Godard, 1967)
Jaws (Spielberg, 1975)
Carrie (De Palma, 1976)
Close Encounters of the Third Kind (Spielberg, 1977)
Raiders of the Lost Ark (Spielberg, 1981)
E.T. the Extra-Terrestrial (Spielberg , 1982)
Indiana Jones and the Temple of Doom (Spielberg , 1984)
Jurassic Park (Spielberg , 1993)
Saving Private Ryan, (Spielberg , 1998)
A.I. Artificial Intelligence (Spielberg , 2001)
Catch Me if you Can (Spielberg , 2002)
War of the Worlds (Spielberg. 2005)
Munich (Spielberg , 2005)
The Adventures of Tintin: The Secret of the Unicorn (Spielberg, 2011)
Moonrise Kingdom (Anderson, 2012)