Summer of 1870. Two writers, Eça de Queiroz and Ramalho Ortigão, decide to write a four-handed whodunit for the daily "Diário de Notícias". Could it be that the story they wrote as fiction is based on a real case? This question fuels the conflict between the two writers and drives them to a nearly fatal duel. Lisbon is in commotion. One crime follows another in a story in which love is stronger than tradition. Everything happens at frenzied pace, as in a game.
Jorge Paixão da Costa
Director
Ivo Canelas
Eça de Queirós
António Pedro Cerdeira
Ramalho Ortigão
Bruna Di Tullio
Countess Luísa Valadas
Rogério Samora
Count Jorge Valadas
José Pedro Vasconcelos
Vasco
Giselle Itié
Carmen Puebla
Flávio Galvão
Nicázio Puebla
James Weber Brown
Rytmel
Nicolau Breyner
Eduardo Coelho
Carla Chambel
Countess (voice)
Vítor Correia
Batalha Reis
Even with its straightforward premise, “Richard Jewell” is ramped up by exceptional drama. In all honesty, the performances are out of this world. As Jewell, Paul Walter Hauser becomes a walking representation of gullibility. His bumbling antics create the perfect hero, and very quickly, we feel the societal heat that surrounds our protagonists.
Although the budget was a dollar and a dream, Netflix's 'First Kill' managed to gain over 90 million viewing hours and a small cult following. So why was it canceled? Given the trends in series cancellations, it may have been because of the Black and queer protagonists.
This documentary moves chronologically through Black representation in horror films, revealing the genre's connections to Black history.
Initially feeling like a passionate group having a bit of harmless fun with filmmaking, it leads to something sinister enough to leave a mark.
These confines won’t really encourage you to read the film as a metaphor for the nerve-inducing experience we’ve all been through over the last year, however — and in the interest of maintaining your dignity, you probably shouldn’t. While the sociopolitical commentary may have worked for the similarly-themed Buried (2010), in which we find Ryan Reynolds on his own buried alive in the Middle East, but this futuristic take on the premise is best left as a piece of distracting entertainment. Nevertheless, the atmosphere is no less suffocating, literally and dramatically.
Our protagonists perform as the opposite gender while still preserving the parts of their personalities that makes themselves who they are.