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Rio de Janeiro in the 1940s, the life of Guida and Euridice Gusmão, raised to be invisible in the eyes of the Brazilian society of that time, like all the other women of that generation.
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On Saturday, the Cannes Film Festival revealed who and what their honorees were for the 2019 incarnation of the fest. The race for the Palme d’Or had been considered one of the most competitive in recent years, as most of the major contenders met or exceeded expectations. The tip had been that the prize would go to either Pain and Glory from Pedro Almodovar or Parasite from Bong Joon-ho, with Quentin Tarantino’s Once Upon a Time in Hollywood potentially a spoiler. Well, the results are in, courtesy of the jury led by i watch movies online free Alejandro González Iñárritu and comprised of Enki Bilal, Robin Campillo, Maimouna N’Diaye, Elle Fanning, Yorgos Lanthimos, Paweł Pawlikowski, Kelly Reichardt, and Alice Rohrwacher. Who and what did they pick? Time to find out. The top prize went to Bong Joon-ho’s Parasite, one of the festival’s presumed frontrunners for the award. As for other notable results,In a unanimous decision by the Cannes 2019 jury headed up by Alejandro González Iñárritu, Bong Joon-ho was awarded the Palme d’Or for his new thriller i watch movies online free Parasite, marking the first South Korean director ever to do so. “With the terrific Parasite, Bong has crafted an angry, genre-inflected social allegory that in many ways functions as a Korean analog to Jordan Peele’s Us. A far superior craftsman than Peele, Bong is perhaps the contemporary master of entertaining, intelligent and resolutely political cinema. In our age of assembly line blockbusters, he’s a veritable treasure,” Giovanni Marchini Camia said in our review of the film, which will be released in the U.S. by Neon.In additional, Mati Diop’s Atlantics picked up the Grand Prize, while Les Misérables and Bacurau tied for the Jury Prize. The full new movies online free Dardennes grabbed Best Director(s) for Young Ahmed, while Antonio Banderas and Emily BeechamA “tropical melodrama” is how the marketing materials bill “The Invisible Life of Eurídice Gusmão.” If that sounds about the most high-camp subgenre ever devised, Karim Aïnouz’s ravishing period saga lives up to the description — high emotion articulated with utmost sincerity and heady stylistic excess, all in the perspiring environs of midcentury Rio de Janeiro — while surprising with its pointed feminist politics and occasionally sharp social truths. Anyone already familiar with Aïnouz’s work will know to expect a florid sensory experience, but even by the Brazilian’s standards, this heartbroken tale of watch movies free full movie two sisters separated for decades by familial shame and deceit is a waking dream, saturated in sound, music and color to match its depth of feeling. From the first, jungle-set shot, the redoubtable d.p. Hélène Louvart gives the film the daubed, traffic-light palette of a ripe mango; were it possible, you’d expect it to have an aroma to match.