Movie reviews of Filipe Freitas

Although not producing real brilliance, the systematized gothic tones and oppressive heaviness produce a quietly gripping surface. It’s a visually wow-inducing whodunit - with cinematography by Cooper’s regular Masanobu Takayanagi - that feels dour and slow at times. Review

With its derivative style and witless plot-twists, the film aspires to be grandiose, comprehensive, and clever but falls flat. Baumbach quickly loses control of his film and often struggles to keep the story afloat, leaving us on the sidelines. Review

Having said that, The Swimmers could have been a sentimental film, but it's not, because El-Hosaini bothered to assemble a canny combination of elements that resulted more fruitful than was expected. Review

Linearly plotted, Glass Onion is stunningly unfunny and desperately wacky; a barely coherent mess moved by a silly game with no thrills and no real mystery. Review

Faithful to a naturalistic approach, Simón engages in repetitive scenarios to give substance to the sad reality of an incomprehensible precariousness. Review

Aftersun is a ripe, sensitive and slightly mysterious drama film served by great actors and crystallized by a rigorous staging and a deeper sense of observation. Evolving slowly but with enchantment, the film will reward patient viewers with its magnificent unfolding and nostalgic conclusion. Review

Nadim Carlsen’s artfully unsoiled cinematography adds an air of suffocating rectitude in a sick machismo manifesto that, alternating strong and fragile sections, piles up crime scenarios with intermittent tension. Holy Spider doesn’t add up to a fully realized thriller. Review

Insensitively dark, peculiarly humorous and wildly depressing, The Banshees of Inisherin touches the puerile, the hilarious and the creepy. Review

Without being dazzled, it was, at least, inspiring to see the alien rockstar romping majestically across the stage and flirting with many types of art. Review

The magical and moving approach of Del Toro gives the title character a fresh meaning in a delightful story that, filled with perils, joys, sorrows, and compassion, works as a life lesson. The musical aspect didn’t match the technically stunning visuals, but this fable comes with enough humor, poetry, and grimness to justify the director’s childhood obsession. Review

It’s no Spotlight for sure, and gets too sentimental in spots. As a film, She Said declines to aim for anything other than the factual narrative, doing it with a mix of courage and relative panache. Review

This horror doesn’t bite to the bone and should only work for those willing to accept the tenets of Guadagnino’s doomed cannibalism and dark romance. In my eyes, the ultimate success of this experience comes from Rylance’s creepy performance, and not so much from the cannibal teens. Review

The Eternal Daughter is like a poignant melody packed with pathos and a sumptuous staging; a purge of guilt and memories that, without taking the form of a labyrinth of artsy manipulations, never hits too hard. I wish I would have been more spooked here. Review

Austrian filmmaker Marie Kreutzer, besides taking some liberties in the script and form, avoids unnecessary entanglement and has no use of sentiment in a story mounted with enough self-destructiveness, mordancy and rebelliousness for us to enjoy it bitter. Review

Having a faltering narrative rhythm as its worst enemy and the cinematography as its strongest quality, The Wonder is more an exercise in mood with no visible threats. It will leave you with less than what you demand for a story of this nature. Review

The non-existent chemistry between the lovers reinforce the idea that this film is on automatic pilot. A romance that never catches fire within a dramatic plot that fails to innovate and engage. Review

The Nigerian-born director is totally committed to her subject, but I’m convinced that the power of the film doesn’t totally match the power of the message. Review

The Fabelmans is forged with a developed sense of narrative, harmonious composition, and an unblemished command of the actors, with my favorite episode occurring in the final minutes, when the young filmmaker meets the renowned director John Ford. Review

The passable The Novelist’s Film doesn't transcend the director’s intimidating filmography, whose previous entry, In Front of Your Face, is a stronger bet. Review

A careful stylization by cinematographer Darius Khondji, who had worked with the director in The Immigrant, creates a particular tonality inspired by Marcel Proust’s classic In Search of Lost Time. Gray put his passion into staging his painfully vivid memoirs, creating a nuanced, delicate film with a strong anti-racist message. Review

The overall story arc is realistically complemented with surgical dialogues and striking visual compositions in a timeless contemporary drama to be remembered for its immense qualities. One can finally rejoice with what have been missing from the movies these days: authenticity and intelligence. Review

Quite simply: this is something you could read about in a few paragraphs, and the film fails to present any type of dilemma during its passionless narrative. Cullen’s character should have been better explored and details of his personal life revealed to help us gain some interest and overcome indifference. Review

Even not taking huge directing risks, Kayis does not hesitate to use a suitable composure in the shots, creating a genuinely entrancing tale of disappointment with a sense of tragic inevitability. The final result may seem austere for ordinary mortals, but the film will be gratifying for movie buffs who don’t get scared with the unrelenting bleakness (with subtle touches of humor) of an apt metaphor. Review

Although a little cold sometimes, Our Father, the Devil imposes itself as an esteemed first work where the thought of forgiveness made me feel good. Review