GLOBO CRITICS EUTH YOUR BETWEEN BETS

‘Keep your heart in the palm and walk.’ On April 16, at the age of 25, photojournalist Fatma Hassona was killed in Gaza alongside nine family members after an Israeli air strike. The day before, the documentary of Sepideh Farsi, made from recordings and hashimadas with Hassona, had been selected for the Cannes Festival. The film is the will of a young woman who tried to use audiovisual to denounce what has been happening in Gaza.

‘Breaking rocks’. The story of the first councilwoman elected in a village of Iran, showing a woman’s challenges to face a society that uses religion to propagate and justify her prejudice.

‘Our land’. Argentina’s first documentary Lucrecia Martel, the film recalls the murder of indigenous leadership in 2009 and the fight that followed after courts. All this in Argentina, but it could be here in Brazil.

‘Orwell: 2+2 = 5’. In a time of fragile democracies, excessive vigilance and political extremism, the documentary seeks to understand the inspirations of the author of the great dystopian novel of humanity, one that would seem to be only fiction, but today sounds as real: “1984”.

‘The Voice of Hind Rajab’. This year’s Venice Festival, the film’s commotion, winner of the Jury Grand Prix. Kaouther Ben Hania’s feature film is chronological reconstitution of a massacre in Gaza from the use of the real audios of telephone conversations between the victim and the agents of a Palestinian help unit.

‘La Grazia’. Fitiche actor of director Paolo Sorrentino, Toni Servillo won the Volpi Cup for best actor at the Venice Festival with this intimate portrait of a fictitious Italian president. Serillo proving, once again, being the greatest Italian actor today.

‘The wave’. Sebastían Lelio’s musical inspired by the university feminist movement that shook Chile in 2018, from the personal drama of a young student haunted by the possible abuse committed by the assistant of one of his teachers. From the same director of “a fantastic woman” (2017).

‘Sentimental value’. The difficult emotional reunion between two sisters (one of them, actress) and the distant father, a once renowned filmmaker who prepares her return to movies with ambitious project involving an American actress. Cannes Festival Jury Grand Prix. Joachim Trier’s feature is Norway’s representative in the Oscar race.

‘Two prosecutors’. In the Soviet Union of the 1930s, during the Stalinist purges, a letter from a falsely accused of the regime prisoner at the hands of a young idealistic prosecutor, who seeks to do justice. A vision of Ukrainian master Sergei Loznitsa on the bowels of a totalitarian government, aired in Cannes.

‘Apocalypse Now’. A great chance to review the disturbing Francis Ford Coppola movie, held in 1979, which dives into the madness of the Vietnam War. The troubled filming were highlighted in the documentary “The Revelation of a Filmmaker” (1991), another attraction of the festival.

‘Kokuho – Master Kabuki’. Lee Sang-il presents the journey of a young man who makes no effort to ascend to Kabuki, a manifestation of the Japanese Theater emerged in the seventeenth century. The film enables the viewer to contact this stylized and thorough artistic form.

‘The Foreigner’. Director with a remarkable signature that moves through various genres, François Ozon focuses on the book of the same name by Albert Camus, set in the colonial Algeria. In addition to the interest raised in the story, the film has been gaining praise for aesthetic conception.

‘Ozu’s diaries’. Daniel Raim provides the audience to know more in detail the trajectory of Japanese filmmaker Yasujiro Ozu, celebrated by films such as “Father and Daughter” (1949), “Once Upon a Time in Tokyo” (1953) and “Routine has its charm” (1962).

‘Sentimental value’. Joachim Trier addresses the attempt to restore family links through art in a movie that dialogues with theatrical references, the cinema of Ingmar Bergman and a production by Woody Allen (“The Other”, 1988).

‘Smell of diesel’. The militarization of public safety in Rio’s favelas at the time of sports megaevents is documented under the eyes of director Natasha Neri (alongside Gizele Martins), who filmed the fucking documentary “Auto de Resistance”.

‘Water Chronology’. Always interesting to follow the footsteps of Kristen Stewart, who was teen objectified in the “Twilight” saga the star of self -safe art cinema. Now debut in the direction in a story about a trauma -plagued swimmer, lived by Imogen Poots, in a praised performance.

‘The wave’. Chilean filmmaker Sebastián Lelio has beautiful credentials – “Gloria” (2013), “a fantastic woman” (2017) – that justify a peek at this showy musical about feminist struggle at a university.

‘Queens of the Dead’. Can you resist a zombie earth with absurd gays and drag queens spent a nightclub and directed by Tina Romero, daughter of George A. Romero, one of the parents of the genre with “The Night of the Living Dead” (1968)? No, it can’t.

‘The Mastermind’. Kelly Reichardt, from “First Cow – The First Cow in America” (2019), made a career full of delicacies and intimate portraits. This time of time in the 1970s, aired in competition at the Cannes Film Festival, has the charismatic Josh O’Connor as an unlikely thief.

‘The Voice of Hind Rajab’. The film that reconstructs the attempt to rescue a Palestinian girl in a car machine -gunned by Israeli soldiers in Gaza caused an emotional catharsis in all the sessions where she was shown in Venice. It was the best movie, but unfairly it didn’t take the golden lion.

‘Agon – the body and the fight’. Giulio Bertelli’s feature film, who was the winner of the International Criticism Award (Fipresci) for better debut director film in Venice, impresses with the original and bold approach that provides a philosophical and current look on a theme that we have seen many times before, overcoming sports limits.

‘Sentimental value’. Winner of the Jury Grand Prix in Cannes, Joachim Trier’s new film, director of “The Worst Person in the World”, is a delicate drama about family relations: a veteran filmmaker plans to resume his career with a movie starring his daughter he barely talks for years.

‘Two prosecutors’. The Ukrainian director Sergei Loznitsa combines part of the suffocating austerity of his first long -touched feature films to portray the height of the so -called “great terror” of the Stalinist regime in the Soviet Union.

‘Die, love’. This year’s Cannes Film Festival brought many stories centered on women’s dramas, and one of the best was Lynne Ramsay, where postpartum depression deserved thought-provoking treatment.

‘The ugly sister’. Despite becoming tiring the wave of adapting fairy tales to the horror genre, “the ugly half sister” stands out for the dramaturgical choices and especially for the great direction of Norwegian Emilie Blichfeldt, who makes her feature film debut. Suitable for those who have a strong stomach.

‘Honey, no!’ Ethan Coen, in this new project without his brother Joel, continues to invest in the combination of success between Noir and Acid Comedy. Despite not reaching the level of the projects Ethan made with his brother, “Honey, no!” It will please fans thanks to their eccentric way of driving the plot.

‘Advice from a retired serial killer. This corrosive comedy of Tolga Karaçelik is highlighted a situation at least eggsule involving a writer and a serial killer. With sharp dialogues, the movie makes fun of comparing marriage to murder.

‘The Primate’. Director Johannes Roberts is an old known terror acquaintance with his low -budget feature films that deliver what fans of the genre love: suspense, tension, scares. His new movie embraces the subgenre survival movie with the usual efficiency.

‘The Hitler Providers’. Italian director Silvio Soldini manages to bring news to a plot located in Nazi Germany during World War II, proving that, despite the countless productions on the subject, there are still stories that should be told about this tragic period of history.

‘Yes’. Nadav Lapid, from the excellent “synonyms” and “the kindergarten teacher”, makes her first feature film in four years and uses comedy and absurdism to question Israeli’s behavior in the face of Palestinian genocide.

‘The Mastermind’. Josh O’Connor is the protagonist of a story about painting theft. Director Kelly Reichardt has already made the brilliant “The Shortcut” and “First Cow-the first cow in America” working with intimacies the archetypes of gender cinema, and the same is expected with this one.

‘What nature tells you’. The Korean Hong Sang-Soo prolific is always a must, and this time he takes up one of the themes expensive at the first part of his career, male insecurity taking unexpected dimensions and generating involuntary comedy.

‘Around’. French filmmaker Claire Denis returns to film in Africa (now Senegal) after the brilliant “good work” (djibouti) and “My Land, Africa” (Cameroon), two of her best movies. And still carries Matt Dillon to the Chock.

‘The piano accident’. Inventor in his own way of making surreal and provocative comedy, Quentin Dupieux now comes with the history of a social media influencer in existential crisis, and to incarnate it has the talent of Adèle Exarchopoulos (“blue is the hottest color”).

‘Playing with fire’. Delphine Coulin and Muriel Coulin film. In the line of the “Adolescence” miniseries, a single father (great acting of Vincent Lindon) discovers that one of his children is no longer the quiet and kind boy that one day he raised.

‘Ghost Elephants’. Werner Herzog, the German filmmaker of “Fitzcarraldo” and “man-man” this time goes to the Democratic Republic of Congo in search of explanations for the extermination of animals by humans-always them.

‘Keep your heart in the palm and walk.’ Without stepping in Gaza, and based only on video calls with Palestinian photographer Fatma Hassona, Iranian director Sepideh Farsi does the anatomy of a genocide.

‘Deaf’. Uncomfortable and sewage trip to the world of hearing impairment, with a deaf ceramist facing the bar of having a daughter in society unprepared to deal with the differences. The direction is by Eva Libertad.

‘A Portuguese Quinta’. Discreet as his protagonist, the drama about an abandoned teacher inexplicably by women becomes a captivating journey (between Spain and Portugal) about identity. A movie by Avelina Prat.

‘Cracked voices’. What is the price to pay for teen stars? What is the abuse and manipulation involved in the creation of “spontaneous” hits? Praised panel on the theme directed by Ondrej Proveznik based on “Bambini di Praga”, a female -base Czech Czech choir that acted from 1973 to 2011.

‘Renoir’. When the family surroundings are suffered, the escape to the imagination becomes the safe haven for teenager Fuki Okita (actress Yui Suzuki, praised at the Cannes 2025 festival in a film signed by Japanese director Chie Hayakawa for the poetic tone in the theme approach).

‘Sentimental value’. After the praised ‘The Worst Person in the World’, Noruguês Joachim Trier won the 2025 Cannes Grand Prix with “Basic” plot: the relationship between artist father and two daughters is shaken by the arrival of an American actress. The director’s talent makes all the difference.

‘Without pity or mercy’. Ancient question: After all, do women make films harder than men? In what sense? In search of an answer, German director Isa Willinger listened to several filmmakers: Catherine Breillat, Céline Sciamma, Ana Lily Amirpour, among others.

‘Apocalypse Now’. Francis Ford Coppola’s masterpiece of 1979 deserves to be reviewed on a big and rethought screen: Is the apocalypse passed or just changes address with new technologies? Marlon Brando can help in the answer.