Movie reviews of Filipe Freitas

Although just fraught enough to make us keep watching, the film manages to keep these deceptive plates spinning for longer than most, but ultimately lacks ambition. Review

The pleasures here are not gory or frenzy but rather quiet chilly vibes that should equally resonate with horror film fans. Review

Hence, what we have here is nothing transcendental nor mind-blowing; it’s just an exercise in mood that makes us believe we are stepping in supernatural terrain. Review

Moghadam carries the film on her shoulders, assuring that Ballad of a White Cow becomes a pertinent and beautifully acted piece of work in its own right. Review

The jokes don’t work, the scenes are recklessly mounted with extravagant coincidence, and there’s a constant struggle to empathize with the protagonist duo. It’s all very unimaginative, and the entertaining qualities claimed fall to pieces. Patience is a requisite if you want to sit through this soulless yet visually acceptable adventure. Review

The film is turned into a further embarrassment through forced coincidences, the absence of thrilling moments, and an unremarkable execution. Believe it or not, its most outstanding achievement was making me laugh without even trying to be funny. Review

With minor quibbles, Topside offers an affecting, if distressing, glimpse into an appalling situation that, known as real, deserves more attention than it actually gets. Review

It's all very obvious, gross and repellent in its deplorable show off. Thus, it’s sad that anyone can claim any type of cleverness or even good entertainment to what is offered here. Review

Sweat survives its glossy production varnish due to the emotional stakes of the plot and a confident performance by Koleśnik, who doesn’t vacillate when it comes to choosing between honesty and hypocrisy. The tension sometimes wanes along the way, but the final stretch ensures that the film ends on a fairly compelling note. Review

The constantly tense atmosphere and dark tones of the film are stressed by the unfailingly rigorous lens of cinematographer Sergio Armstrong, and the sometimes unsettling, sometimes sad sound design of Mauricio López. Review

A lyrical sense of bittersweet acceptance permeates the film, and the cinematography amplifies the sense of wintry desolation. Still, the images are brashly poetic rather than debilitating. Review

Favoring a slow, simple style that recall Tsai Ming Liang’s contemplative cinema, Bak builds a ponderous story moved by a broad sense of emptiness, nostalgia and sadness. Review

Unfortunately, the cruder the story grows, the less stimulating it becomes, no matter how efficiently crafted some scenes may look. Review

Absurdist humor is injected, occasionally causing surprise. Yet, for the most part, the film is tonally balmy. I cannot say it was hard to sit through and try to figure out the potential of its ideas. The problem is that every idea is cut up to pieces in a split of a second. Review

Despite the pleasant frames, I found Hold Me Tight vapid in the assemblage and lethargic in pace, marked by a fluctuating narrative that, not being easy to follow, is not so unique or even unapproachable. Review

The idea is not totally unthinkable considering the technology-centered world we live in. However, this undercooked story never reached the beauty, or even the simplicity, of the images captured. Colin Farrell and Jodie Turner-Smith are simultaneously restrained and practical in their performances, with the film raising some concerns about the lack of a twist or an emotional boost. Review

Reeves’ self-possessed direction digs into the character with gravitas and precision, making for a reinvigorating return to basics. Effectively paced, with sober special effects as well as depressingly noir scenarios, the film embraces this darkly captivating mood that, even clocking in at 180 minutes, never felt exhausting. Review

Boasting some great landscape shots, this biopic was sufficiently clear about impractical relationships and sexual frustration, but is a missed opportunity in everything else. Review

The director should be proud of the solid script, his knack for storytelling, interesting characters, and the funny dialogue peppered with some memorable translating moments. It’s a wild, darkly comic collision between refugees, ignorant villagers, dysfunctional governmental figures, and debilitated military forces. On top of an arresting black-and-white photography, Fear also boasts commendable performances. Review

The film is meandering and some parts don’t really hold together, but the way this tale finally ties into personal happiness is light-hearted and life-affirming. Rone’s electronic music together with Paul Guilhaume’s voluptuous black-and-white photography take advantage of the Parisian charm, facilitating the flow of energy from and to these characters. Review

This bittersweet snapshot of an aging man and his last will is more functional than great. Although catapulted by Emmanuèle’s fortitude, the film is occasionally coated in dramatic toppings, especially when Andre’s former lover, Gerard, is around. Review

Despite the heavy symbolism, it all becomes more visually awkward within a dreamworld facade rather than something actually smart. Moreover, the puffs of dark humor didn’t work for me, only the score by electronic musician Dan Deacon felt adequate for the visual communication intended. Review

We are witnesses of some uncomfortable procedures inflicted on these animals, which are not exactly free despite enjoying real moments of freedom. Informative, quite involving, yet inevitably repetitive, Cow could not have brought more into the fold. Review

Although flawed to the point of failing to reach its true potential, and with practically every scene signposted with heaviness, there’s still a pertinent message here demanding reflection. Review