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anniefprp · 4 years

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Rationale

For my PRP, I have made and directed a contemporary horror film that combines the use of found footage with traditional filming practise. I was inspired to create this because I wanted to create something that feels unpredictable and keeps the audience on edge. I was inspired by directors such as Daniel Myrick and Eduardo Sánchez (The Blair Witch Project), Lee Cronin (The Hole in the Ground), Denis Rovira van Boekholt (La Influencia, El Grifo) and Troy Wagner (Marble Hornets).

Creating the piece

I really like the found footage genre, because it creates a level of realism that you don’t find when using traditional filming methods, as there is an element of plausibility. It was pioneered by films such as The Blair Witch Project, which sparked debate at its release as to whether or not it was real, and Marble Hornets, a web series posted on YouTube, that sparked similar debates. However, these projects were so successful because they were doing something new. Now, several decades on, the found footage genre is much more saturated. Thus, I wanted to take this genre which I have always enjoyed and draw from its spirit of being unpredictable and unsettling, but to do something new. Thus I came up with the idea of switching from found footage to traditional filming mid-film, in a way which I hope will have a similar effect that found footage films had when they first debuted.

First, I had to find inspiration from the piece. I knew that I wanted to create a piece that started off as found footage and then switched unexpectedly to conventional filming; thereby setting up an expectation for the audience and consequently subverting it.

My first point of reference was existing found-footage style films. My biggest inspiration for the piece was The Blair Witch Project. It popularised the idea of using found footage to make a feature length film. It also gave me the idea of setting the piece in the woods. I liked the atmosphere created in the film in that there is a great sense that the fact that they are out alone in the wilderness means that they are isolated. Isolation is scary because it rules out the possibility of help dealing with the threat. I wanted to emulate that atmosphere in my own piece.

Another piece of found footage filming that greatly inspired me is the ‘Marble Hornets’ series. It did something rarely achieved since The Blair Witch Project in 1999, which is that it created the illusion that the story could actually be real, and it did this by taking the found footage style of filming to a new platform; the internet. It was certainly not the only series of that style to rise in the early days of YouTube, but it was arguably the most popular in that niche. It quickly established, in the same way that The Blair Witch Project did, a reason rooted in reality for the filming to be occurring, and therefore justifying the possibility that it might be real. In The Blair Witch Project, they are filming their own investigation; in Marble Hornets they are creating a short film. This was the second stimulus for the story of my piece- finding a justification for the existence of the “found footage”. I was trying to keep the narrative simple because there were time constraints. Knowing that my actors were going to be my fellow students, and thus a similar age to me, got me thinking about situations I or my peers might be filming ourselves. My idea was a kind of holiday vlog. So, combining this with my first piece of inspiration (filming the piece in the woods) I came up with the idea of a hiking trip! This fulfilled both my criteria (wilderness and justified filming) and was practically very achievable- I wouldn’t need too much in the way of props and costume.

Now that I had a situation, I came to the trickier part of the story; the threat. I had lots of inspiration for this, so it was a question of finding something that was achievable, interesting, and fit with the themes of my piece.

Both The Blair Witch Project and the Marble Hornets series had a supernatural threat. I really loved this idea- a supernatural threat ties in perfectly with the isolation of my scenario because it adds to the audience’s feeling of helplessness and dread- how do you fight something that has no basis in reality? Furthermore, both of the aforementioned supernatural threats are vague and undefined in order to add to the feeling of helplessness. However, there were practical considerations to take into account. Both of these pieces use an abundance of effects and props to create their supernatural menace, and I had to consider how much of this I would realistically be able to achieve. The problem I faced was not only that I would need these elements, but that they would have to be very good, because it’s very easy for something like this to appear quite amateur in an already low budget medium. Overall, I felt that trying to make my threat supernatural would be making life unnecessarily difficult for myself, so I decided to opt for something rooted in reality.

That didn’t mean that any of the above was a pointless rumination, however. There was inspiration I could take from the supernatural menaces mentioned and incorporate that into my own threat. The main thing I had learned was the fear of the unknown. How could I take something possible and incorporate this unknown, dangerous element? This was my inspiration for the character that I created to be the villain of the piece; ‘Red’.

Even his name is an unknown factor. It’s not so ridiculous that it’s clearly not a name, but it’s not a normal choice. Is it an alias? Does he have something to hide? Every decision I made for the character was supposed to make the audience ask themselves questions; how did he get injured? Why is he out here on his own? The element of mystery, as I had learned from The Blair Witch Project and from Marble Hornets, creates a sense of uncertainty in the audience. And this sense of uncertainty creates a sense of unease. I took inspiration from human characters that are unsettling. A film that really inspired me was ‘Us’, directed by Jordan Peele. Some of the characters in that film are doppelgangers, and you can tell which the doppelgangers are because they are unsettling in odd, subtle ways.

Once I had created this character, the story flowed quite naturally from there. Again, I was trying to keep the narrative simple, and I had a serial killer and three innocents alone in the woods together so the obvious choice was to build up to him attempting to murder them. And with that, I had devised my story.

The creation of the script

Another thing that adds to the level of realism in a found footage film, in tandem with the element of plausibility, is that often the dialogue feels very natural and un-staged. This is because with many found footage films, such as The Blair Witch Project, the dialogue is largely improvised. I definitely wanted to incorporate this into my piece, because it creates a greater sense of naturalism that found footage creates so well, so when I was writing the script, I used a combination of actual script writing with directed improvisation. For instance: see appendix a.

The parts of the script in italics are improvised action, whereas lines that are important to drive the plot are scripted traditionally.

Alongside creating a script from improvisation I also tailored the characters I created to suit the actors I had cast. My thinking behind this was that it would make the improvisation seem more natural is the cast felt comfortable within the characters that they were playing, and this would encourage natural dialogue and a feeling of realism for the audience. For horror media to be scary, there needs to be an element of truth in it, because if it is entirely removed from reality then there will be no perceived threat for the audience.

Chemistry is also very important on screen, and I was lucky enough to be able to use actors who have known each other for some time, so that the relationships would seem real.

It would have been interesting to do this project with people I didn’t know so well. In that instance, I would have created the characters with them, rather than for them. It would have taken a much longer rehearsal process.

Once I had the script, it was time to storyboard the piece. Storyboarding the found footage section of the piece was easy enough, because it would all be one shot; it could be as messy as it came out, and it just followed the narrative of the scenes I had drafted when writing the script. However, the second section of the piece, which is filmed conventionally, would be more complex. I wanted it to contrast as much as possible with the found footage portion in order to subvert what the audience is expecting (which is a continuation of what is already established). My main inspiration was the film ‘The Hole in the Ground’, directed by Lee Cronin. This film has a really good sequence in where the main character is searching in the woods. It feels very threatening, as if she is in real danger, but you don’t know what the danger is. Careful observation led me to the conclusion that short shot that are quite different from each other are key, because they keep the audience on edge and give them no real time to acclimatise to a shot. Although in contrast, a few longer shots are needed to break it up so it doesn’t seem manic. Another style of shot I had observed in horror films is the shot where you can see something the character on screen can’t, or vice versa. If you can see something the character can’t, it leads to a feeling of helplessness. You want to shout; “watch out!” but you know you are powerless to stop it happening. Here is an example of a shot where I used this: see Appendix b. On the other hand, the shot where the character sees something that the audience can’t creates an unknown for the audience- what is the danger? Where is the danger? An example of this would be this shot from La Influencia (Appendix c) where the main character has seen something before the audience has.

A few other shots that particularly inspired me were from ‘The Hole in the Ground’, which has the sequence of the main character running through the woods that utilises lots of shots where she crosses the screen to show great distance being travelled; see appendices d and e for a direct comparison with a shot that I took, and also the Criminal Minds episode “Mr & Mrs Anderson”, which has a sequence where a character is strangled that inspired my own sequence. I particularly liked the point of view shot of the victim being strangled, because it brought the viewer into the perspective of the victim.

So with all this inspiration I created my storyboard. I knew that there were going to be time constraints- I only had a day to film because my actors were busy. I created my storyboard very specifically so I would know exactly what I wanted. This also meant that on the day I would find a contrast in filming styles- the sound footage would be semi improvised and the conventional footage would be filmed in a very rigorous way. I hoped this would translate to a dramatic shift of feeling in the actual film.

Filming the piece

On the day of filming, I allowed the actors some time to improvise extra scenes in the section before the threat (Red) appears. This had several purposes- one, to flesh out the more scripted scenes with a few extra snippets to communicate a sense of time- more short scenes gives the impression of time passing. Secondly, I had found during the rehearsal process that the actors were very receptive to the characters and the story, truly embodying them, and I wanted to give the actors a chance to bring their own short sections as a chance for them to demonstrate the choices they had made for their characters. For instance, there were moments that Sam’s character struggled working the camera. This allowed the other characters to make fun of her age, which establishes their playful relationship and that Sam is their elder, and it adds a moment of comedy that will help to lull the audience into a false sense of security. I have come to find that my own personal style of directing benefits from a good ratio of instruction and collaboration. And finally, it gave the actors a chance to warm into the characters before the drama of the second half.

Another challenge on the day of filming, as mentioned briefly above, was the timings. I had only one day to film the piece, as my actors (being fellow third years with their own PRPs to create) are very busy. The story takes place over several days, so I filmed the scenes out of order (for instance, all of the night-time scenes, regardless of their chronology, had to be filmed last). This provided a challenge for my actors, because they had to jump around their emotional states. I tried to help them with this in rehearsals. I kept the story pretty simple, and I made sure that they were all very familiar with it in our first rehearsal, nearly a month before the filming date.

Another simple way of communicating the passage of time was by using different locations, so I found a couple of different wildernesses to film in that were close to each other.

Editing the piece

Now that I had filmed the piece, I came to the second important part of the process of creating the piece- editing it. Creating the base footage was pretty easy, because I had lots of material to choose from when I had let the actors improvise the found footage, and the second section (contemporary filming) had been planned out to thoroughly that it was mostly just a process of trimming and editing the shots together. But then we came to the more complex parts; visual and sound editing.

The visual editing of the piece was mostly colour grading it. I looked at lots of horror films for inspiration for this. Often horror is set at the night-time, but mine was in the day, so I decided to take out a lot of the brighter tones to make the mood more sombre and less upbeat. I also darkened it slightly. A film that inspired me would be The Ritual, which is also set in the woods. Even though some of it is in day time, the muted colours and the darkness leave you feeling uneasy; see Appendix f for an example. The other thing that I did when editing the piece was to make the found footage section lower quality. This was to add to the homemade feel of it, and to contrast with the switch to conventional filming.

I also had lots of inspiration for the audio. I’m a big fan of horror games; I think an interactive experience, when well executed, can be a terrifying experience. For the soundtrack, I took inspiration from classics such as Slender, created by Mark J. Hadley, which excellently builds tension throughout the 20 or so minutes it spans in a very simple manner. The aim of the game is to collect 8 pages. After every page that is picked up, a new sound starts (e.g. heavy breathing, static sounds, and an unsettling base note). I incorporated this simple layering of sounds to create tension into my piece. The part of my film that is conventional footage is split into three sections (Jo looking for Lucy, Lucy running then being attacked by Red, and Jo finding Lucy’s body). So, inspired by Slender, I added new parts of the soundtrack in each new ‘scene’ (they are not quite distinct enough to be labelled separate scenes but they are definitely distinct. After the first ‘scene’, I incorporated some creepy base notes. In the third ‘scene’ I added more higher pitched, tenser sounds. This created an effect of layering the different sounds on top of each other, increasing the tension. I also saw a short film I liked called El Grifo by the same director that filmed La Influencia (Denis Rovira van Boekholt). In this film, the soundtrack is really thematic, as the film is centred around plumbing, so the soundtrack sneakily features sounds like water dripping to point towards the terror in the film. I thought I could incorporate this into my own work by really emphasising the panting sounds of the two female characters as they run away, because this hints towards how Red will kill Jo at the end; strangulation. It will make the audience think about being short of breath before the strangulation happens.

The results

Firstly, let’s talk about how I achieved the criteria that I set out to fulfil, before looking at things that could have been improved upon.

The film subverts the traditions found in the found-footage genre by breaking the unspoken rules; the rule that this film is potentially real because it is justified by being “found footage”. It does this by establishing these rules in a relaxed, friendly atmosphere, and then the violent plot shift coincides with the breaking of these rules; the found footage is gone and we turn to conventional filming.

The dialogue feels natural and believable because the characters that actors played were easily accessible and comfortable for them; as I had written them to be. The actors really took to the situation and characters and I loved working with them.

A fearful atmosphere was created in the conventionally filmed portion of the film by the use of camera work that I did, that was inspired by directors such as Lee Cronin, Denis Rovira van Boekholt and Daniel Myrick, as detailed above.

The tension was also enhanced by the sound and visual editing that I did in post-production.

There are a few things that I would have improved upon retrospectively. Firstly, I would have done the vfx (cut on Red’s face) in advance, because it was difficult on location when it was windy.

I would have liked more time to film. Of course, this wasn’t possible, but if theoretically it were, I would like to have worked with the actors to find a more genuine sense of fear, to evoke the same in the audience. This could have been done with breathing exercises to build panic, or we could have workshopped ways to get the actors to a place of terror (in a safe and healthy environment, of course). In fact retrospectively this could have been done in rehearsals to abide with the time constraints of this project. I did this for the last scene though and the atmosphere is right. I did this by having everyone start their drinks and creating the friendly relaxed atmosphere that I wanted at the start of the scene (to lull the audience into a false sense of security before the reveal of Red).

I also think I could have built the tension more effectively. I was going for a real shock to the system when the footage becomes conventional, but I think that the easy atmosphere at the start might have made this change a little too jarring.

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fabioferreiraroc · 4 years

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Todos os filmes originais Netflix, classificados do pior ao melhor

A Netflix está investindo cada vez mais na produção de filmes exclusivos. Mais de três centenas deles já foram lançados e estão disponíveis na plataforma do serviço de streaming. A Bula avaliou todas as produções originais e as reuniu em uma lista, organizada do pior ao melhor filme. O ranking levou em conta as notas atribuídas aos títulos no IMDb, uma das maiores plataformas de cinema do mundo.

A Netflix está investindo cada vez mais na produção de filmes exclusivos. Mais de 400 já foram lançados, e todos estão disponíveis na plataforma do serviço de streaming. A Bula avaliou as produções originais e as reuniu em uma lista, organizada do pior ao melhor filme. O ranking levou em conta as notas atribuídas aos títulos no IMDb, uma das maiores plataformas de cinema do mundo. Alguns destaques são: “Roma” (2018), de Alfonso Cuarón, que ganhou o Oscar de Melhor Filme Estrangeiro em 2019; e “História de Um Casamento” (2019), dirigido por Noah Baumbach, que concorreu em seis categorias do Oscar 2020. É importante lembrar que a lista não tem intenção de ser universal ou definitiva, apenas representa as avaliações recebidas pelos filmes na plataforma pesquisada.

428 — Falcons em Jogo (2018), Olivier Afonso

427 — The Last Days of An American Crime (2020), Olivier Megaton

426 — Mrs. Serial Killer (2020), Shirish Kunder

425 — Drive (2019), Tarun Mansukhani

424 — Oh, Ramona! (2019), Cristina Jacob

423 — Solteiramente (2020), Katleho Ramaphakela

422 — Boi (2018), Jorge M. Fontana

421 — The Ridiculous 6 (2015), Frank Coraci

420 — Paradise Beach (2019), Xavier Durringer

419 — Encontro Fatal (2020), Peter Sullivan

418 — Hot Gimmick: Girls Meet Boy (2019), Yûki Yamato

417 — Zerando a Vida (2016), Steven Brill

416 — A Pequena Suíça (2019), Kepa Sojo

415 — O Aplicativo (2019), Elisa Fuksas

414 — Fim do Mundo (2019), McG

413 — A Última Coisa Que Ele Queria (2020), Dee Rees

412 — Perda Total (2018), Kyle Newacheck

411 — Te Quiero, Imbécil (2020), Laura Mãná

410 — Dívida Perigosa (2017), Martin Zandvliet

409 — Os Infiéis (2020), Stefano Mordini

408 — Resgate em Malibu (2019), Savage Steve Holland

407 — Influência (2019), Denis Rovira van Boekholt

406 — Sandy Wexler (2017), Steve Brill

405 — Um Emprego de Verdade (2020), Carlos Morett

404 — Quatro Histórias de Fantasmas (2020), Zoya Akhtar e outros

403 — O Silêncio do Pântano (2019), Marc Vigil

402 — Seis Vezes Confusão (2019), Michael Tiddes

401 — Fica Comigo (2017), Brent Bonacorso

400 — A Gente se Vê Ontem (2019), Stefon Bristol

399 — O Bom Sam (2019), Kate Melville

398 — A Barraca do Beijo (2018), Vince Marcello

397 — The Silence (2019), John R. Leonetti

396 — Nosso Último Verão (2019), William Bindley

395 — O Príncipe do Natal (2017), Alex Zamm

394 — Todas as Sardas do Mundo (2020), Yibran Asuad

393 — Desperados (2020), LP

392 — Pokémon Mewtoo Contra-Ataca (2019), Kunihiko Yuyama

391 — Obsessão Secreta (2019), Peter Sullivan

390 — O Outro Pai (2019), Gabriela Tagliavini

389 — A Grande Luta (2020), Jay Karas

388 — O Príncipe do Natal: O Casamento Real (2018), John Schult

387 — A História Real de um Assassino Falso (2016), Jeff Wadlow

386 — Cascavel (2019), Zak Hilditch

385 — Mudo (2018), Duncan Jones

384 — Crazy Trips: Budapeste (2019), Xavier Gens

383 — O Feitiço de Natal (2018), Bradley Walsh

382 — Earth And Blood (2020), Julien Leclercq

381 — Pai do Ano (2018), Tyler Spindel

380 — A Babá (2017), McG

379— O Sol de Riccione (2020), Younuts

378 — Io (2019), Jonathan Helpert

377 — Blockbuster (2017), July Hygreck

376 — A Vingança de Maria (2019), Pedring Lopez

375 — Bright (2017), David Ayer

374 — iBOY (2017), Adam Randall

373 — TAU (2018), Federico D’Alessandro

372 — Fe@rless (2020), Cory Edwards

371 — Tribu Urbana Dance (2018), Fernando Colomo

370 — #realityhigh (2017), Fernando Lebrija

369 — Quando Nos Conhecemos (2018), Ari Sandel

368 — O Natal Está no Ar (2019), Leslie Small

367 — Dude: A Vida é Assim (2018), Olivia Milch

366 — O Monstro do Monstro de Frankenstein (2019), Daniel Gray Longino

365 — A Volta Por Cima (2019), Remy Four

364 — MILF (2020), Axelle Laffont

363 — Mentiras Perigosas (2020), Michael M. Scott

362 — The Cloverfield Paradox (2018), Julius Onah

361 — A Tenente de Cargil (2020), Sharan Sharma

360 — O Príncipe do Natal: O Bebê Real (2019), John Schultz

359 — Death Note (2017), Adam Wingard

358 — Feliz Aniversário de Casamento (2018), Jared Stern

357 — Coffee & Kareem (2020), Michael Dowse

356 ¬— Crush à Altura (2019), Nzingha Stewart

355 — Vende-se Esta Casa (2018), Matt Angel e Suzanne Coote

354 — Extinção (2018), Bem Young

353 — Cartão de Natal (2017), Ernie Barbarash

352 — Kart Nervoso (2020), Owen Trevor

351 — David Brent: A Vida na Estrada (2018), Ricky Gervais

350 — Revenger (2018), Lee Seung-won

349 — O Caderno de Sara (2018), Norberto López Amado

348— Dead Kids (2019), Mikhail Red

347 — Histórias Assustadoras do Capitão Cueca Hackeando o Halloween (2019), Mark Banker

346 — XOXO: A Vida é Uma Festa (2016), Christopher Louie

345 — Paradox (2016), Michael Hurst

344 — O Silêncio da Cidade Branca (2019), Daniel Calparsoro

343 — Special Correspondents (2016), Ricky Gervais

342 — Presságio (2020), Alejandro Montiel

341 — Preso em Casa (2019), Samit Basu

340 — Estranhos em Casa (2020), Olivier Abbou

339 — Próxima Parada: Apocalipse (2018), David. M. Rosenthal

338 — Fortuna pelos Canos (2020), Anurag Kashyap

337 — Escola de Solteiras (2019), Luis Javier Henaine

336 — Nu (2017), Michael Tiddes

335 — Pato Pato Ganso (2018), Chris Jenkins

334 — Polar (2019), Jonas Åkerlund

333 — Amor em Obras (2019), Roger Kumble

332 — No Ritmo da Sedução (2018), Tinge Krishnan

331 — Let’s Dance (2019), Ladislas Chollat

330 — Altos Negócios (2020), Cüneyt Kaya

329 — The After Party (2018), Ian Edelman

328 — Dia da Namorada (2017), Michael Paul Stephenson

327 — Gostos e Cores (2017), Myriam Aziza

326 — Mistério no Mediterrâneo (2019), Kyle Newacheck

325 — A Missy Errada (2020), Tyler Spindel

324 — A Princesa e a Plebeia (2018), Michael Rohl

323 — Troco em Dobro (2020), Peter Berg

322 — Close Enemies (2018), David Oelhoffen

321 — Um Passado de Presente (2019), Monika Mitchell

320 — Modo Avião (2020), César Rodrigues

319 — A Última Gargalhada (2019), Greg Pritikin

318 — Um Amor, Mil Casamentos (2020), Dean Craig

317 — Pelas Ruas de Paris (2019), Élisabeth Vogler

316 — Pássaro do Oriente (2019), Wash Westmoreland

315 — Órbita 9 (2017), Hatem Khraiche

314 — Mãe e Muito Mais (2019), Cindy Chupack

313 — Duda e os Gnomos (2017), Peter Lepeniotis

312 — Suzzanna: Buried Alive (2019), Rocky Soraya

311 — Contando os Segundos (2016), Priyadarshan

310 — O Limite da Traição (2020), Tyler Perry

309 — Um Crime para Dois (2020), Michael Showalter

308 — Castelo de Areia (2017), Fernando Coimbra

307 — Munafik 2 (2018), Syamsul Yusof

306 — Natal 5 Estrelas (2018), Marco Risi

305 — Lá Vêm Os Pais (2018), Robert Smigel

304 — Esquadrão 6 (2019), Michael Bay

303 — Sergio (2020), Greg Barker

302 — O Terceiro Olho (2018), Rocky Soraya

301 — O Casamento de Ali (2018), Jeffrey Walker

300 — Campo do Medo (2019), Vincenzo Natali

299 — Juanita (2019), Clark Johnson

298 — A Escalada (2017), Ludovic Bernard

297 — Boneca Maldita (2018), Rocky Soraya

296 — De Quem é a Culpa? (2020), Ruchi Narain

295 — A Mulher Mais Odiada dos Estados Unidos (2017), Tommy O’haver

294 — Clinical (2017), Alistair Legrand

293 — À Queima-Roupa (2019), Joe Lynch

292 — Entre Realidades (2020), Jeff Baena

291 — Yucatán (2019), Daniel Monzón

290 — Anon (2018), Andrew Niccol

289 — Eli (2019), Ciarán Foy

288 — Mercy (2016), Chris Sparling

287 — O Professor de Música (2019), Sarthak Dasgupta

286 — Iris (2016), Jalil Lespert

285 — Shimmer Lake (2017), Oren Uziel

284 — Estrada Sem Lei (2019), John Lee Hancock

283 — Spectral (2016)

282 — O Filho Protegido (2019), Sebastián Schindel

281 — Insana (2017), Gerard Barrett

280 — Doce Argumento (2018), Bem Shelton

279 — É o Bicho! (2020), Tony Bancroft

278 — Missão: Moedas (2017), Emily Hagins

277 — La Misma Sangre (2019), Miguel Cohan

276 — Close (2019), Vicky Jewson

275 — Mascots (2016), Christopher Guest

274 — Wasp Networks: Rede de Espiões (2020), Olivier Assayas

273 — Loja de Unicórnios (2019), Brie Larson

272 — Morte às Seis da Tarde (2019), Patryk Vega

271 — Fé de Etarras (2017), Borja Cobeaga

270 — Batalhas (2018), Katarina Launing

269 — Dragon Quest: Your Story (2019), Takashi Yamazaki

268 — Deixe a Neve Cair (2019), Luke Snellin

267 — Quem Tem Carma Nunca Alcança (2017), Nikhil Bhat

266 — The Dirt: Confissões do Mötley Crue (2019), Jeff Tremaine

265 — O Terceiro Olho 2 (2019), Rocky Soraya

264 — Ánimas (2019), José F. Ortuño e Laura Alvea

263 — Ricos de Amor (2020), Bruno Garotti

262 — O Chefe (2018), Sergio Barrejón

261 — Desaparecida (2018), Alejandro Montiel

260 — A Prima Sofia (2020), Rebecca Zlotowski

259 — Perfeita Para Você (2018), Stephanie Laing

258 — Pequeno Demônio (2017), Eli Craig

257 — Kodachrome (2018), Mark Raso

256 — Seguindo o Coração (2018), Aadish Kelushar

255 — Malevolent (2018), Olaf de Fleur Johannesson

254 — Siga Pela 10 (2017), Chester Tam

253 —A Barraca do Beijo 2 (2020), Vince Marcello

252 — Asfalto de Sangue (2019), Yann Gozlan

251 — O Homem Sem Gravidade (2019), Marco Bonfanti

250 — O Mistério das Garotas Perdidas (2019), Jae-hyun Jang

249 — Quando os Anjos Dormem (2018), Gonzalo Bendala

248 — A Casa (2020), Raül Busquets

247 — Ni No Kuni (2019), Yoshiyuki Momose

246 — Sequestrando Stella (2019), Thomas Sieben

245 — Alguém Especial (2019), Jennifer Kaytin Robinson

244 — Curtiz (2020), Tamas Yvan

243 — Onde Está Segunda? (2017), Tommy Wirkola

242 — Caído do Céu (2019), José Pepe Bojórquez

241— Nada Santo (2019), Renato de Maria

240 — Between Two Ferns: O Filme (2019), Scott Aukerman

239 — Handsome: Um Filme de Mistério Netflix (2017), Jeff Garlin

238 — Dias Sem Fim (2020), Joe Robert Cole

237 — Sombra Lunar (2019), Jim Mickle

236 — Saara (2017), Pierre Coré

235 — O Sonho de Uma Casa (2019), Siew Hua Yeo

234 — Surdo (2020), Alfonso Cortés-Cavanillas

233 — Sonhos Lúcidos (2017), Kim Joon-sung

232 — Uma Tarefa Maluca (2020), Sammaria Simanjuntak

231 — Firebrand (2019), Aruna Raje

230 — O Banqueiro da Resistência (2018), Joram Lursen

229 — Cities of Last Things (2018), Wi Ding-ho

228 — Sierra Burgess é Uma Loser (2018), Ian Samuels

227 — Power (2020), Henry Joost

226 — Gente que Vai e Volta (2019), Patricia Font

225 — Slam (2017), Andrea Molaioli

224 — Ultras (2020), Francesco Lettieri

223 — ARQ (2016), Tony Elliot

222 — Ibiza: Tudo Pelo DJ (2018), Alex Richanbach

221 — Legado nos Ossos (2020), Fernando González Molina

220 — Os Irmãos Willoughby (2020), Kris Pearn, Cory Evans e outros

219 — Floresta de Sangue (2019), Sion Sono

218 — Sementes Podres (2018), Kheiron

217 — Como Superar um Fora (2018), Bruno Ascenzo

216 — Oferenda à Tormenta (2020), Fernando González Molina

215 — Les Affamés (2017), Robin Aubert

214 — O Centenário que Saiu Sem Pagar a Conta e Sumiu (2016), Felix e Mans Herngren

213 — Jo Pil-Ho: O Despertar da Ira (2019), Jeong-beom Lee

212 — Benji (2018), Brandon Camp

211 — Expresso do Destino (2020), Ozan Açiktan

210 — Natal em El Camino (2017), David E. Talbert

209 — Rebirth (2016), Karl Mueller

208 — Maska (2020), Neeraj Udhwani

207 — Eu Não Sou um Homem Fácil (2018), Eleonore Purriat

206 — O Autor (2017), Manuel Martin Cuenca

205 — Noite de Lobos (2018), Jeremy Saulnier

204 — Fratura (2020), Brad Anderson

203 — Código de Silêncio (2017), Gerard McMurray

202 — Brahman Naman (2016), Qaushiq Mukherjee

201 — Tempo de Caça (2020), Sung-hyun Yoon

200 — Resgate do Coração (2019), Ernie Barbarash

199 — O Matador (2017), Marcelo Galvão

198 — Até que a Gente te Separe (2019), Madeleine Sami e Jackie van Beek

197 — O Aviso (2018), Daniel Calparsoro

196 — Perdoai as Nossas Dívidas (2018), Antonio Morabito

195 — Crouching Tiger, Hidden Dragon: Sword of Destiny (2016), Yuen Wo-Ping

194 — Carga Bruta (2015), Julien Leclercq

193 — Minha Primeira Luta (2018), Olivia Newman

192 — O Declínio (2020), Patrice Laliberté

191 — Partida Fria (2020), Lukasz Kosmicki

190 — Ted Bundy: A Irresistível Face do Mal (2019), Joe Berlinger

189 — King: Uma História de Vingança (2017), Fabrice Du Welz

188 — Andar Montar Rodeio (2019), Conor Allyn

187 — O Anjo de Mossad (2018), Ariel Vormen

186 — Solo (2019), Hugo Stuven

185 — Jadotville (2016), Richie Smyth

185 — Errementari: O Ferreiro e O Diabo (2018), Paul Urkijo Alijo

183 — Tallulah (2016), Sian Heder

182 — Jonas (2019), Christophe Charrier

181 — O Ritual (2017), David Bruckner

180 — O Fotógrafo de Mauthausen (2019), Mar Targarona

179 — The Titan (2018), Lennart Ruff

178 — Pickpockets (2017), Peter Webber

177 — 15 de Agosto (2019), Swapnaneel Jaykar

176 — American Son (2019), Kenny Leon

175 — Amador (2018), Ryan Koo

174 — Crônicas de Natal (2018), Clay Kaytis

173 — O Date Perfeito (2019), Chril Nelson

171 — Steel Rain (2018), Yang Woo-seok

170 — Soni (2018), Ivan Ayr

169 — Missão no Mar Vermelho (2019), Gideon Raff

168 — The Discovery (2017), Charlie McDowell

167 — As Leis da Termodinâmica (2018), Mateo Gil

166 — Velvet Buzzsaw (2019), Dan Gilroy

165 — Sound & Fury (2019), Michael Arias, Masaru Matdumoto e outros

164 — Mindhorn (2017), Sean Foley

163 — Farol das Orcas (2016), Gerardo Olivares

162 — Barry (2016), Vikram Gandhi

161 — Apostando Tudo (2017), Joe Swanberg

160 — 6 Balões (2018), Marja Lewis Ryan

159 — Mogli – Entre Dois Mundos (2018), Andy Serkis

158 — A Caminho da Fé (2018), Joshua Marston

157 — Fortuna Maldita (2018), Timo Tjahjanto

156 — Quem Você Levaria Para Uma Ilha Deserta? (2019), Jota Linares

155 — 4L (2019), Gerardo Olivares

154 — O Pacote (2018), Jake Szymanski

153 — Caninos Brancos (2018), Alexandre Espigares

152 — Next Gen (2018), Kevin R. Adams e Joe Ksander

151 — Step Sisters (2017), Charles Stone III

150 — Calibre (2018), Matt Palmer

149 — Notas de Rebeldia (2020), Prentice Penny

148 — Árvore de Sangue (2019), Julio Medem

147 — Quatro Histórias de Desejo (2018), Zoya Aktar, Karan Johar e Diakar Banerjee

146 — War Machine (2017), David Michôd

145 — FullMetal Alchemist (2017), Fumihiko Sori

144 — Operação Fronteira (2019), J. C. Chandor

143 — One Two Jaga (2018), Nam Ron

142 — Pequenos Delitos (2017), Evan Katz

141 — Rock My Heart (2019), Hanno Olderdissen

140 — O Natal de Angela (2018), Damien O’Connor

139 — Street Flow (2019), Kery James

138 — Hip-Hop Beats (2019), Chris Robinson

137 — El Potro: Lo Mejor Del Amor (2018), Lorena Muñoz

136 — 7 Ãnos (2016), Roger Gual

135 — Deidra e Laney Assaltam um Trem (2017), Sidney Freeland

134 — Quem com Ferro Fere (2019), Paco Plaza

133 — Roxanne Roxanne (2018), Michael Larnell

132 — Tal Pai, Tal Filha (2018), Lauren Miller Rogen

131 — Godzilla: O Devorador de Planetas (2018), Kobun Shizuno e Hiroyuki Seshita

130 — O Rei da Polca (2018), Maya Forbes

129 — Sonhos Imperiais (2014), Malik Vitthal

128 — Shaft (2019), Tim Story

127 — Tigertail (2020), Alan Yang

126 — Bayoneta (2019), Kyzza Terrazas

125 — Illang: A Brigada Lobo (2018), Kim Jee-woon

124 — Maktub (2018), Oded Raz

123 — O Despertar de Motti (2019), Michael Steiner

122 — Rajma Chawal (2018), Leena Yadav

121 — Um Trapaceiro do Bem (2019), Sachin Yard

120 — Na Própria Pele: O Caso Stefano Cucchi (2018), Alessio Cremonini

119 — Nossas Noites (2017), Ritesh Batra

118 — Manhunt (2017), Andrew Sodroski, Jim Clemente e Tony Gittelson

117 — Bala Perdida (2020), Guillaume Pierret

116 — Fútil e Inútil (2018), David Wain

115 — A Noite nos Persegue (2018), Timo Tjahjanto

114 — Bird Box (2018), Susanne Bier

113 — Alex Strangelove (2018), Craig Johnson

112 — A Lavanderia (2019), Steven Soderbergh

111 — Pachamama (2018), Juan Antin

110 — Para Todos os Garotos: P.S. Ainda Amo Você (2020), Michael Fimognari

109 — Pee-wee’s Big Holiday (2016), John Lee

108 — Adú (2020), Salvador Calvo

107 — 1922 (2017), Zak Hilditch

106 — Minha Primeira Caçada (2018), Jody Hill

105 — Gun City (2018), Dani de la Torre

104 — O Mínimo Para Viver (2017), Marti Noxon

103 — Meu Irmão (2019), Julien Abraham

102 — Felicidade Por um Fio (2018), Haifaa Al-Mansour

101 — 22 de Julho (2018), Paul Greengrass

100 — Altered Carbon: Resleeved (2020), Takeru Nakajima

99 — Upstarts (2019), Udai Singh Pawar

98 — Gente de Bem (2018), Nicole Holofcener

97 — Lionheart (2018), Genevieve Nnaji

96 — Mudbound (2017), Dee Rees

95 — Apóstolo (2018), Gareth Evans

94 — O Último Capítulo (2018), Osgood Perkins

93 — Mademoiselle Vingança (2019), Emmanuel Mouret

92 — Joy (2019), Sudabeh Mortezai

91 — Seu Filho (2019), Miguel Ángel Vivas

90 — Lost Girls: Os Crimes de Long Island (2020), Liz Garbus

89 — O Sono da Morte (2016), Mike Flanagan

88 — Inspire, Expire (2019), Ísold Uggadóttir

87 — Girl (2019), Lukas Dhont

86 — Blame! (2017), Hiroyuki Seshita

85 — Wheelman (2017), Jeremy Rush

84 — Psychokinesis (2018), Yeon Sang-ho

83 — Dançarina Imperfeita (2020), Laura Terruso

82 — Elisa Y Marcela (2019), Isabel Coixet

81 — Juventude Assassina (2018), Isao Yukisada

80 — Bleach (2018), Shinsuke Sato

79 — Feel the Beat (2020), Elissa Down

78 — Layla M. (2016), Mijke de Jong

77 — Isi & Ossi (2020), Oliver Kienle

76 — Sob a Pele do Lobo (2018), Samu Fuentes

75 — Paskal: Missão Resgate (2019), Cheng Kin-Kwok

74 — Bulbbul (2020), Anvita Dutt

73 — A Incrível Jessica James (2017), Jim Strouse

72 — High Flying Bird (2019), Steven Soderbergh

71 — O Plano Imperfeito (2018), Claire Scanlon

70 — A Sociedade Literária e a Torta de Casca de Batata (2018), Mike Newell

69 — Já Não Me Sinto em Casa Nesse Mundo (2017), Macon Blair

68 — Shirkers: O Filme Roubado (2018), Sandi Tan

67 — Amor por Metro Quadrado (2018), Anand Tiwari

66 — Por Lugares Incríveis (2020), Brett Haley

65 — Atlantique (2019), Mati Diop

64 — Jogo Perigoso (2017), Mike Flanagan

63 — Corpo e Alma (2017), Ildikó Enyedi

62 — Dumplin (2018), Anne Fletcher

61 — Efeito Pigmaleão (2020), Mehdi Idir

60 — Cargo (2018), Yolanda Ramke e Ben Howling

59 — O Mundo é Seu (2018), Romain Gavras

58 — Para Todos os Garotos que Já Amei (2018), Susan Johnson

57 — Uma Terra Imaginada (2018), Yeo Siew Hua

56 — Resgate (2020), Sam Hargrave

55 — Tempestade de Areia (2016), Elite Zexer

54 — Dear Ex (2019), Mag Hsu e Hsu Chih-yen

53 — Legítimo Rei (2018), David Mackenzie

52 — Festival Eurovision da Canção: A Saga de Sigrit e Lars (2020), David Dobkin

51 — Mais Uma Página (2018), Kagiso Lediga

50 — Divinas (2016), Houda Benyamina

49 — 18 Presentes (2020), Francesco Amato

48 — Uma Viagem à Groelândia (2016), Sébastien Betbeder

47 — Ninguém Sabe que Estou Aqui (2020), Gaspar Antillo

46 — Tempo Compartilhado (2018), Sebastián Hofmann

45 — Está Tudo Certo (2019), Eva Trobisch

44 — Destacamento Blood (2020), Spike Lee

43 — Dovlatov (2018), Aleksey German Jr.

42 — My Happy Family (2017), Nana Ekvtimishvili e Simon Gross

41 — O Pequeno Príncipe (2015), Mark Osborne

40 — O Grande Passo (2020), Sooni Taraporevala

39 — A Mala e os Errantes (2017), Adam Leon

38 — Olhos de Gato (2020), Jun’ichi Satô

37 — Meu Eterno Talvez (2019), Nahnatchka Khan

36 — The Old Guard (2020), Gina Prince-Bythewood

35 — Você Nem Imagina (2020), Alice Wu

34 — O Vazio de Domingo (2017), Ramón Salazar

33 — Durante a Tormenta (2019), Oriol Paulo

32 — Sintonizada em Você (2019), Ji-woo Jung

31 — A Noite de 12 anos (2018), Alvaro Brechner

30 — Viver Duas Vezes (2020), Maria Ripoll

29 — Lonely Island e os Irmãos Bash (2019), Mike Diva

28 — Os Meyerowitz: Família Não se Escolhe (2017), Noah Baumbach

27 — First They Killed My Father (2017), Angelina Jolie

26 — Um Homem de Sorte (2019), Lykke-Per

25 — Amizades Improváveis (2016), Rob Burnett

24 — O Outro Lado do Vento (2018), Orson Welles

23 — O Poço (2020), Galder Gaztelu-Urrutia

22 — Paddleton (2019), Alex Lehmann

21 — Dezessete (2019), Daniel Sánchez Arévalo

20 — Rede de Ódio (2020), Jan Komasa

19 — Pérolas no Mar (2018), Rene Liu

18— Okja (2017), Joon-ho Bong

17 — Meu Nome é Dolemite (2019), Craig Brewer

16 — O Rei (2019), David Michôd

15 — 37 Segundos (2020), Hikari

14 — Lazzaro Felice (2018), Alice Rohrwacher

13 — Ya No Estoy Aqui (2020), Fernando Frias

12 — A Sun (2019), Mong-Hong Chung

11 — Perdi Meu Corpo (2019), Jerémy Clapin

10 — Joias Brutas (2020), Benny e Josh Safdie

Howard Ratner é o dono de uma loja de joias que está cheio de dívidas por jogos de apostas. Para resolver sua situação, ele quer vender uma pedra não lapidada enviada diretamente da Etiópia. Inicialmente, Howard oferece a joia a um de seus clientes assíduos, mas depois percebe que pode lucrar muito mais indo à leilão. Só que, antes disso, ele precisa driblar os cobradores que o perseguem.

9 — A Balada de Buster Scruggs (2018), Ethan e Joel Cohen

Trabalhando pela primeira vez com a Netflix, os famosos irmãos Coen idealizaram uma antologia faroeste. O filme reúne seis curtas com histórias diferentes, mas que ocorreram no mesmo local, a fronteira selvagem do velho oeste. Os episódios seguem os capítulos do livro fictício “A Balada de Buster Scruggs e Outros Contos da Fronteira Americana”.

8 — O Menino que Descobriu o Vento (2019), Chiwetel Ejiofor

Aos 13 anos, William Kamkwamba, do Malawi, ganhou fama em seu país em 2007, ao construir uma turbina de vento geradora de energia. A região onde William morava foi assolada por uma seca que devastou a plantação de sua família. Estudando sozinho e utilizando materiais improvisados, ele criou um projeto para fornecer água encanada e eletricidade ao seu vilarejo, privilégios aos quais a população do Malawi não tinha acesso.

7 — Mais Uma Chance (2018), Tamara Jenkins

Um casal na casa dos 40 anos tenta engravidar de várias formas. Sem sucesso, eles se submetem a várias fertilizações. Quando os recursos e opções parecem chegar ao fim, o aparecimento de uma sobrinha renova as esperanças do casal, que decide tentar novamente. Além disso, eles precisam cuidar da própria relação, que está abalada em meio a tantos acontecimentos.

6 — Beasts of No Nation (2015), Cary Fukunaga

Agu é uma criança que sofre com as consequências da guerra civil da África do Sul. Depois que seu pai é morto por militares, ele é obrigado a se tornar um soldado, abandonando a família para lutar no conflito. Para se transformar em um combatente, ele é instruído por um comandante, que o ensina as cruéis regras da disputa armada. O longa é baseado no livro homônimo do autor nigeriano Uzodinma Iweala.

5 — Klaus (2019), Sergio Pablos

Pior aluno da academia de carteiros, o mimado Jasper é mandado para Smeerensburg, uma remota ilha localizada acima do Círculo Ártico. Nessa cidade, os habitantes brigam o tempo todo e não demonstram o mínimo interesse pelas cartas. Para bater sua meta de correspondências e voltar para casa logo, Jasper conta com a ajuda da professora Ava e do misterioso carpinteiro Klaus. Juntos, eles tentam alegrar Smeerensburg e apresentar aos moradores a magia do natal.

4 — Dois Papas (2019), Fernando Meirelles

O filme constrói um encontro fictício entre o então cardeal Jorge Bergoglio, hoje Papa Francisco, e o Papa Bento XVI, em 2012. Durante uma das maiores crises recentes da Igreja, o argentino Jorge Bergoglio decide pedir sua aposentadoria por discordar da forma como o Papa tem conduzido a igreja. Com a passagem já comprada para Roma, ele é surpreendido pelo convite do próprio Papa Bento XVI para visitá-lo. No encontro, eles falam sobre suas vidas e os rumos do catolicismo.

3 — Roma (2018), Alfonso Cuarón

O filme foi inspirado na infância de Cuarón e conta a história de Cleo, uma jovem que trabalha como babá e doméstica de uma família de classe média, moradora do bairro Roma, na Cidade do México. Em um ano, acontecimentos inesperados afetam a rotina da família. Enquanto sua patroa, Sofia, sofre com o afastamento do marido, Cleo engravida do namorado, Fermín, que não quer assumir a criança.

2 — História de um Casamento (2019), Noah Baumbach

O diretor de teatro Charlie e a atriz Nicole estão passando por muitas dificuldades no relacionamento e decidem se divorciar. Os dois concordam em não envolver advogados, levando o processo de uma maneira amigável, mas Nicole muda de ideia e contrata uma advogada experiente, Nora Fanshaw. Surpreso com a atitude de Nicole, Charlie se esforça para pagar um famoso advogado e lutar pela custódia do filho, o pequeno Henry.

1 — O Irlandês (2019), Martin Scorsese

Frank Sheeran, “O Irlandês”, é um veterano de guerra cheio de condecorações. Ele aprendeu a matar servindo na Segunda Guerra Mundial e divide seu tempo entre os trabalhos de caminhoneiro e assassino de aluguel para a máfia. Já velho, Frank reflete sobre sua carreira no mundo do crime e seu envolvimento com os Bufalino, uma família de mafiosos. Ele também relembra seu envolvimento no desaparecimento do líder do sindicato dos caminhoneiros, Jimmy Hoffa, que era seu amigo de longa data.

Todos os filmes originais Netflix, classificados do pior ao melhor Publicado primeiro em https://www.revistabula.com

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