Movie reviews of Filipe Freitas

Even with all its flaws, you will be moved by its humanity, but don’t be surprised if a deep feeling of solitude invades your spirit.

Mediocre at its best, presenting very little substance and lacking interesting character development. The songs by Radiohead’s Thom Yorke provide short moments of pleasure in a film to be quickly erased from memory.

Green Book is impregnated with funny moments, conveying assertive energy that occasionally resembles the classics. Regardless of the possible nonconformity with the facts, the film was put together in a way that is visually and narratively exciting...

Jenkins exerted the expected sensitivity for each scene, yet some of them worked better than others.

Bohemian Rhapsody is ostentation, offering limited musical insights and dramatic tension within a stereotyped approach. Queen’s burning music is all that's left.

Balancing the low-key tones that involve the story with the ever-present inner tension of the main character, Martinessi aims at Paraguayan society. Moreover, the slow developments suit the story well, which, working under the sign of authenticity, stirs up captive emotions. The Heiresses is an understated yet assured work.

The extraordinary performances magnify the complexity of the characters, surrounding them with empathy. Still, you will find emotional pain in every each of them. It’s outstanding how quietly the director gets close to these people.

Capturing the emotional subterfuges of an artist you’ve probably never heard of, the film never felt less than thoroughly lived-in by a cast that was permanently in the care of making this small work a bigger achievement. It’s a lengthy, inebriating, and casually funny experience that didn’t fall into the usual traps of biographical films.

Ms. Bier, whose previous directorial efforts kept toggling between competent and sloppy, fully embraces Hollywood this time with dubious quality, and that comes with a price. Following impossible, far-fetched routes, Bird Box is a lumbering and quite incongruous mess.

An absurdist, powerhouse folly, which feels spunky enough to honor the musical genre and comes filled with deadpan hilarity to please comedy addicts.

Whereas Bispuri’s direction is guileless and focused, the script, co-written with Francesca Manieri, could have been slightly adjusted, especially in its final section where the complexity of the situation spins no payoff and got me a bit frustrated.

This closely observed family portrait, a study of loss and trauma, comes in tones of pervasive sadness. The fully shaped characters convey innate veracity, making us plunge headfirst into their afflictions, hopes, and frustrations.

This efficient account charms with a breezy fluidity, also displaying decorous looks and settings that conjure up that slightly opaque glow of the 1980s.

Brooding in tone and sincerely acted, First Reformed succeeds on the strength of its complex theme, not only examining the hardships of faith but also alerting for the gradual decay of our planet.

On the one side, Greengrass touches the melodrama through the use of some emotional manipulation, but on the other side, he creates a visceral impact with the horrifying scenes.

With salient dark humor popping out from time to time and a great score by Alexandre Desplat, The Sisters Brothers provides proper entertainment even when things become a bit out of control.

Not among the director’s best efforts and yet, has the power to captivate us with its lightness, effortless spontaneity, and instinctive charm.

The deep meaning of the words blended with the pure, hyper-realistic filmmaking style of Ceylan, makes it a very rich experience.

The director addresses vital topics with a competent execution, which only failed in creating a bit more dramatic frisson in some essential parts of the story.

While Matt Dillon is insanely convincing in his performance, Von Trier obtains an extravagant blend of horror and humor from the monstrosity of his character.

Broadening his vision and maturing his signature style, Lanthimos skillfully weaves the threads of a story that never stops to amuse us in a sort of mundanity-meets-elegance.

It’s a grown-up, patient look at infertility that, even enchanting here and there, misses that little spark that leads to the heart.

Visually, it never ceases to dazzle our eyes, either through the quasi-monochromatic canvases displaying misty Chinese landscapes or the ingenious costume design. Shadow is a sumptuous sensory feast filled with spectacle, surprise, and madness.

There’s little to differentiate this film from other generic drama-thrillers out there, and even if the images shine bright, they were not enough to make Everybody Knows glittering like gold.