Cinema and arts blog

Com o vômito da menina monstruosa que, em O exorcista (William Friedkin, 1973), encarna os assombros masculinos, a escritora e cineasta Virginie Despentes batiza sua obra-prima – assim como Regan, um pequeno diabo duplicado, no formato de livro e filme.

Rose Byrne's Linda is an anti-Ophelia. She tries to drown herself to escape the discursive and material imprisonment that confines her to the bitter (and exhausting) role of a bad mother. The Shakespearean character throws herself into a river because she cannot find, for her latent longings, "a place or a word," as Maria Rita Kehl would say. The Bronsteinian character, in turn, crashes uselessly against the fierce waves of the night tide, but even they, after successive demo

Tiradentes, January 2026 Marcela, My vertigo with your film was triggered by the petit allegro – not by chance, the warm-up for the great leaps. The piano, which plunged me into my own personal abyss, plays the coda of the prologue of Sleeping Beauty – a ballet also dizzying in its excesses – which, in some way, reminds me of the kind of temporal fold (or unfolding) that Cross My Flesh proposes to make. Tchaikovsky's score, cut up in this scene at the end of its beginni

I got married at the Second Civil Registry Office in Belo Horizonte, on Rua dos Guaranis, in the hyper-center of the capital of Minas...

With the publication of Visual Pleasure and Narrative Cinema , an article by Laura Mulvey conventionally considered the starting point...