- 2001 - ODISSEIA NO ESPAÇO (1968)
- WOMAN IN THE DUNES (1964)
- ESTRADA PERDIDA (1997)
- O ÚLTIMO ANO EM MARIENBAD (1961)
- REPULSA (1965)
- O EXORCISTA (1973)
- A LARANJA MECÂNICA (1971)
- O ANJO EXTERMINADOR (1962)
- SCARFACE - A FORÇA DO PODER (1983)
- BLOWUP - HISTÓRIA DE UM FOTÓGRAFO (1966)
- JFK (1991)
- A BARREIRA INVISÍVEL (1998)
- O PADRINHO — PARTE II (1974)
- BARRY LYNDON (1975)
- A MULHER QUE VIVEU DUAS VEZES (1958)
- MULHOLLAND DRIVE (2001)
- A IDADE DE OURO (1930)
- BLADE RUNNER — PERIGO IMINENTE (1982)
- APOCALYPSE NOW (1979)
- HEAT — CIDADE SOB PRESSÃO (1995)
- TUDO BONS RAPAZES (1990)
- AKIRA (1988)
- A PANTERA (1942)
- ALIEN — O 8º PASSAGEIRO (1979)
- JULIETA DOS ESPÍRITOS (1965)
- RASHÔMON — ÀS PORTAS DO INFERNO (1950)
- TAXI DRIVER (1976)
- SOLARIS (1972)
- CACHÉ — NADA A ESCONDER (2005)
- INTIMIDADE (1978)
- CLUBE DE COMBATE (1999)
- DISPONÍVEL PARA AMAR (2000)
- OS SUSPEITOS DO COSTUME (1995)
- MAGNOLIA (1999)
- IRMÃOS INSEPARÁVEIS (1988)
- LIGAÇÕES PERIGOSAS (1988)
- OS ELEITOS (1983)
- À BEIRA DO ABISMO (1946)
- OS MUTANTES (1998)
- A INSUSTENTÁVEL LEVEZA DO SER (1988)
- CIDADE DE DEUS (2002)
- O SENTIDO DA VIDA (1983)
- BEN-HUR (1959)
- TRAINSPOTTING (1996)
- ALICE NO PAÍS DAS MARAVILHAS (1951)
- HAVERÁ SANGUE (2007)
- VELUDO AZUL (1986)
- TEMPOS MODERNOS (1936)
- OLDBOY — VELHO AMIGO (2003)
- BLOW OUT — EXPLOSÃO (1981)
- EXÓTICA (1994)
- O BOM, O MAU E O VILÃO (1966)
- TOURO ENRAIVECIDO (1980)
- GHOST IN THE SHELL (1995)
- VELVET GOLDMINE (1998)
- LAWRENCE DA ARÁBIA (1962)
- OS INADAPTADOS (1961)
- PULP FICTION (1994)
- BAMBI (1942)
- CRIMES E ESCAPADELAS (1989)
- O GRANDE DITADOR (1940)
- O VIGILANTE (1974)
- MORANGOS SILVESTRES (1957)
- MEMENTO (2000)
- BADLANDS — NOIVOS SANGRENTOS (1973)
- HÁ LODO NO CAIS (1954)
- AS DIABÓLICAS (1955)
- O GRANDE LEBOWSKI (1998)
- KILL BILL — A VINGANÇA, VOL. 1 (2003)
- A DESAPARECIDA (1956)
- O FUTURO RADIOSO (1997)
- A CAIXA DE PANDORA (1929)
- MATRIX (1999)
- O REI DE NOVA IORQUE (1990)
- STALKER (1979)
- O ÍDOLO (1942)
- A PALAVRA (1955)
- A LENDA DO CAVALEIRO SEM CABEÇA (1999)
- WEST SIDE STORY — AMOR SEM BARREIRAS (1961)
- QUEM TRAMOU ROGER RABBIT? (1988)
- UMA ABELHA NA CHUVA (1972)
- MORRER EM LAS VEGAS (1995)
- IMPERDOÁVEL (1992)
- FARINELLI (1994)
- RAN — OS SENHORES DA GUERRA (1985)
- CALMA DE MORTE (1989)
- CANINO (2009)
- A LISTA DE SCHINDLER (1993)
- O PROTEGIDO (2000)
- ANNIE HALL (1977)
- ROUNDERS — A VIDA É UM JOGO (1998)
- O BORDEL DO LAGO (2000)
- A HISTÓRIA DE ADÈLE H. (1975)
- DRÁCULA DE BRAM STOKER (1992)
- CÃES DE PALHA (1971)
- A FESTA (1968)
- INSTINTO FATAL (1992)
- O SILÊNCIO DOS INOCENTES (1991)
- TRAFFIC — NINGUÉM SAI ILESO (2000)
- A CELA (2000)
«Only a few films are transcendent, and work upon our minds and imaginations like music or prayer or a vast belittling landscape», Roger Ebert.
De Stanley Kubrick.
«If any piece of art-house cinema can be called an essential, this mesmerizing, haunting work can», Ken Hanke.
De Hiroshi Teshigahara.
«Here, the road leads nowhere in particular; what you pay for is the ride», Rob Nelson.
De David Lynch.
«The movie is what it is — a sustained mood, an empty allegory, a choreographed moment outside of time, and a shocking intimation of perfection», J. Hoberman.
De Alain Resnais.
«As psychological horror films go, there are more than a few that get the psychology better than this, but almost none that come within spitting distance of the horror.», Tim Brayton.
De Roman Polanski.
«Some movies aren't just movies. They're closer to voodoo — they channel currents larger and more powerful than themselves», Owen Gleiberman.
De William Friedkin.
«There's Stanley Kubrick's "A Clockwork Orange," and then there's everything else», Cole Smithey.
De Stanley Kubrick.
«In it we watch a trivial breach of etiquette transform into the destruction of civilization. Not only does this story undermine our confidence in our social institutions but it challenges our powers of cognition and perception, which are shown to be easily distorted by unreliable narratives», Marsha Kinder.
De Luis Buñuel.
«The dominant mood of the film is anything but funny. It is bleak and futile: What goes up must always come down. When it comes down in Scarface, the crash is as terrifying as it is vivid and arresting», Vincent Canby.
De Brian De Palma.
«The natural world is arrayed against the artificial scene; conscience is deployed against convention», Andrew Sarris.
De Michelangelo Antonioini.
«Leaving aside all of its drama and emotion, it is a masterpiece of film assembly», Roger Ebert.
De Oliver Stone.
«A movie about creation growing out of destruction, about love where you'd least expect to find it and about angels — especially the fallen kind — who just happen to be men», Michael O'Sullivan.
De Terrence Malick.
«From start to finish, this is filmmaking at its most immortal», Ben Kenigsberg.
De Francis Ford Coppola.
«It defies us to care, it asks us to remain only observers of its stately elegance», Roger Ebert.
De Stanley Kubrick.
«You watch this guy going slowly over the brink and realize, good grief, this is Jimmy Stewart», Mike Clark.
De Alfred Hitchcock.
«You may walk out of this movie with a headache, you may walk out angry or or you may feel like you've just come back from Oz, but you will not walk out unaffected», Tom Long.
De David Lynch.
«The bliss of full-frontal subversion, cinema’s most exultant cattle prod, the best Marx Bothers comedy the Marx Brothers never made», Fernando F. Croce.
De Luis Buñuel.
«This is a seminal film, building on older classics like Metropolis or Things to Come, but establishing a pervasive view of the future that has influenced science fiction films ever since», Roger Ebert.
De Ridley Scott.
«The opening, with the whirling sound of choppers intercut with Willard sweating angst in his Saigon hotel bed, a jungle burning with napalm... remains a visual and aural wonder», Peter Travers.
De Francis Ford Coppola.
«Boosters and touts use the term 'major movie' so often that it's more likely to generate yawns than excitement at this point. Back to basics. Heat is a major movie. With major stars. Doing major acting», Susan Stark.
De Michael Mann.
«You walk away, tantalized by a view into the darkest part of yourself, glad that that part is still behind bars», Richard Corliss.
De Martin Scorsese.
«A phenomenal work of animation with all the hallmarks of an instant cult classic», Janet Maslin.
De Katsuhiro Otomo.
«More a film about unreasoning fear than the supernatural, this work demonstrates what a filmmaker can accomplish when he substitutes taste and intelligence for special effects», Don Druker.
De Jacques Tourneur.
«It's a scream from another era that still echoes around us», Michael Wilmington.
De Ridley Scott.
«It admits us to Fellini’s dreams and fantasies, which, truly, were his entire life», John Baxter.
De Federico Fellini.
«Only Kurosawa at his boldest would create such a kinesthetic sequence, in which movement itself — of the camera, the character, and the forest’s foliage — becomes the very point and subject of the scene», Stephen Prince.
De Akira Kurosawa.
«Rain pours out of the gloomy night skies, steam rises in gusts from pavements, fire hydrants erupt in geysers, an AlkaSeltzer tablet explodes close-up in a glass of water — until finally there can only be a hurricane of blood», Frank Rich.
De Martin Scorsese.
«More an exploration of inner than of outer space, Tarkovsky's eerie mystic parable is given substance by the filmmaker's boldly original grasp of film language and the remarkable performances by all the principals», Jonathan Rosenbaum.
De Andrey Tarkovsky.
«By the final riveting and static images, fear and guilt have become almost palpable. You won't be able to look away», Peter Travers.
De Michael Haneke.
«A moving examination of a wealthy artistic family and their complicated and troubled relationships, is something of a minor masterpiece — and, as an examination of existential angst, is about as effective as American cinema has produced», Iain Stott.
De Woody Allen.
«Delivers a sucker punch to the audience and then pulls the rug out from under it», Bob Graham.
De David Fincher.
«The cramped rooms, narrow hallways, and limited perspectives are all metaphors for secrets hidden behind facades, and passion suppressed by the constrictions of the time», Li Cheuk-to.
De Wong Kar-wai.
«The film's coup de grace is as elegant as it is unexpected. The whole movie plays back in your mind in perfect clarity — and turns out to be a completely different movie to the one you've been watching (rather better, in fact)», Quentin Curtis.
De Bryan Singer.
«As an act of filmmaking, it draws us in and doesn't let go», Roger Ebert.
De Paul Thomas Anderson.
«It dares the very taste buds of cinema with concerns so far beyond the polite, and so far beneath the easy shock, it could have been made by an alien: a being with a healthy disregard for the normal operations of commercial cinema, but with a unique sense of the human condition», Chris Rodley.
De David Cronenberg.
«A delectably naughty experience. This sort of wit and immediacy is extraordinarily rare in a period film», Hal Hinson.
De Stephen Frears.
«It can't be compared with any other movie, old or new», David Ansen.
De Philip Kaufman.
«A movie that every film student should study and every movie lover should watch at least once», James Berardinelli.
De Howard Hawks.
«The result is an unbearably intense movie with just these outsiders, who genuinely captures the feeling of being different», Christoph Huber.
De Teresa Villaverde.
«Leaves an afterimage as insistent as a flashbulb's ghost. It is a haunting, glowing thing that won't let go», Rita Kempley.
De Philip Kaufman.
«That rare film that manages to be seductively entertaining without ever compromising its authenticity and power», Megan Turner.
De Fernando Meirelles.
«Unsparing and elaborate in its vision of humanity at its foulest», Noel Murray.
De Terry Gilliam e Terry Jones.
«A movie that everybody should see at least once, but once they have seen it, they want to see it again or perhaps even own it», George Chabot.
De William Wyler.
«a singular sensation, a visionary knockout spiked with insight, wild invention and outrageous wit», Peter Travers.
De Danny Boyle.
«At only 75 minutes, the film zips along at an impatient child’s pace, yet manages to catch all of Wonderland’s major attractions», G. Smalley.
De Clyde Geronimi, Wilfred Jackson e Hamilton Luske.
«A work of stunning intelligence and dramatic sweep, a portrait of a young nation struggling to find itself, torn between religious and business values», Colin Covert.
De Paul Thomas Anderson.
«As fascinating as it is freakish. It confirms Mr. Lynch's stature as an innovator, a superb technician, and someone best not encountered in a dak alley», Elvis Mitchell.
De David Lynch.
«Humor with sentiment, charm with political awareness. It is Chaplin before life, and the world of which he was an ever more careful observer, began to weigh him down», Saul Austerlitz.
De Charles Chaplin.
«Exults in its own audaciousness, in its abandonment of convention and flaunting of unexpected intelligence», Tom Long.
De Chan-wook Park.
«It’s hallucinatory, and it has a dreamlike clarity and inevitability, but you’ll never make the mistake of thinking that it’s only a dream», Pauline Kael.
De Brian De Palma.
«In the form of a taut psychological thriller, Egoyan plumbs the violence of the mind in ways that are unique and unnerving», Peter Travers.
De Atom Egoyan.
«An improbable masterpiece — a bizarre mixture of grandly operatic visuals, grim brutality and sordid violence that keeps wrenching you from one extreme to the other», Michael Wilmington.
De Sergio Leone.
«An underdog in its day and a classic today», Glenn Abel.
De Martin Scorsese.
«An effectively melancholy and intensely cerebral contemplation of what it means to be human. Its surfaces are flashy, but this animated vision of the future has plenty of soul», Barry Walters.
De Mamoru Oshii.
«Brilliantly reimagines the glam-rock 70's as a brave new world of electrifying theatricality and sexual possibility, to the point where identifying precise figures in this neo-psychedelic landscape is almost beside the point», Janet Maslin.
De Todd Haynes.
«This is that rare film whose weaknesses are not only swallowed up by its vast, disturbing ambition, but somehow become part of its strengths», Gary Kamiya.
De David Lean.
«A brave deconstruction of the Wild West's mythos, as well as a searing study of the lingering death of the American Dream», Dan Jardine.
De John Huston.
«There's a special kick that comes from watching something this thrillingly alive», Peter Travers.
De Quentin Tarantino.
«In colors that would surprise even the spectrum itself, Disney's cartoon craftsmen have re-created a woodland that shimmers and glows and darkens altogether magically», Theodore Strauss.
De David Hand, James Algar, Samuel Armstrong, Graham Heid, Bill Roberts, Paul Satterfield e Norman Wright.
«The movie generates the best kind of suspense, because it's not about what will happen to people — it's about what decisions they will reach», Roger Ebert.
De Woody Allen.
«Chaplin’s finest further touch, having made his dictator ridiculous, is to remind us of how much harm even ridiculous people can do», Michael Wood.
De Charles Chaplin.
«Coppola manages to turn an expert thriller into a portrayal of the conflict between ritual and responsibility without ever letting the levels of tension subside or the complicated plot get muddled», Don Druker.
De Francis Ford Coppola.
«Each step along the trip yields new faces, new situations, and dilemmas -- all leading back to the film's ideas about love, life, death, accomplishment, and incompetence», Matt Langdon.
De Ingmar Bergman.
«A thriller for people who are sick of thrillers, a puzzle movie in which the puzzle is actually worth the time and effort to solve», Mark Caro.
De Christopher Nolan.
«It had a lyricism that films have only once in a while, moments of a transcendental nature... You've seen these kinds of moments in other films — they're really hard to pull off, and usually they come off as a pretension», Bill Paxton.
De Terrence Malick.
«An uncommon powerful, exciting, and imaginative use of the screen by gifted professionals», A. H. Weiler.
De Elia Kazan.
«An almost perfect movie about a very nearly perfect murder, a film in which the artist’s methods and the killers’ are ideally matched, equal in cunning and in ruthlessness», Terrence Rafferty.
De Henri-Georges Clouzot.
«For those who delight in the Coens' divinely abstract take on reality, this is pure nirvana», Ian Nathan.
De Joel e Ethan Coen.
«The undeniable passion that drives Kill Bill is fascinating, even, strange to say it, endearing», A.O. Scott.
De Quentin Tarantino.
«The final shot of this genuine epic says everything the Western ever had to say about the price of the American frontier and those forgotten bones upon which a nation was built», Tom Keogh.
De John Ford.
«Solemn, subtly structured, beautifully acted and ultimately hypnotic», Richard Schickel.
De Atom Egoyan.
«There would never be another Lulu — nor will there ever be», J. Hoberman.
De Georg Wilhelm Pabst.
«For those who have been waiting for movies to catch up with the graphic possibilities of comic books, wait no longer», Ray Conlogue.
De Andy e Larry Wachowski.
«If you can handle the lack of sympathetic characters and the throwaway nature of the violence, Ferrara's unflinching thriller is one hell of a ride, and deserves recognition for its borderline satirical take on well-worn themes», David Graham.
De Abel Ferrara.
«A tangled knot of memories, fears, fantasies, nightmares, paradoxical impulses, and a yearning for something that's simultaneously beyond our reach and yet intrinsic to every one of us», Nick Schager.
De Andrei Tarkovsky.
«As a simple, moving story with an ironic heart-tug at the end, it serves as a fitting memorial to the real Lou, who called himself the luckiest man alive», Bosley Crowther.
De Sam Wood.
«A strange, wondrous and shocking work. Once seen, it's unlikely to leave you», Dave Calhoun.
De Carl Theodor Dreyer.
«The entire film is an eyeful, an odd triumph of old-fashioned filmmaking», Joe Baltake.
De Tim Burton.
«West Side Story continues to move precisely because of its faint insistence that hope remains possible», Charles Tashiro.
De Jerome Robbins e Robert Wise.
«A joyous, giddy, goofy celebration of the kind of fun you can have with a movie camera», Roger Ebert.
De Robert Zemeckis.
«The stunning photography and interpretations of Soveral and Guedes produce one of the masterpieces of Portuguese filmmaking», DC Latin American.
De Fernando Lopes.
«The film pulls no punches, takes no prisoners and flies in the face of feel-good pictures», Leonard Klady.
De Mike Figgis.
«Conveys the power of the Western genre's myths... as well as the ugly, unromantic realities that lurk behind them», Nick Schager.
De Clint Eastwood.
«Stops you in your tracks and transports you to a phantasmagorical world where music, mystery and magic hold sway», Frederic & Mary Ann Brussat.
De Gérard Corbiau.
«And we’re watching, in the hands of a master (a sensei), a great metaphor of the apocalypse, a world in flames whose chaos is made strangely beautiful», Michael Wilmington.
De Akira Kurosawa.
«Chilling, claustrophobic tale of menace on a dead calm ocean», Shannon J. Harvey.
De Philip Noyce.
«Mr. Lanthimos's ends may be obscure, but his means can be seductive», A.O. Scott.
De Giorgos Lanthimos.
«Because this film touches us so deeply, the catharsis has a power that few — if any — other moments in film history can match», James Berardinelli.
De Steven Spielberg.
«When was the last time a big budget Hollywood thriller (with Bruce Willis, no less) came off as understated?», Jim Shelby.
De M. Night Shyamalan.
«Seems less of a stylistic breakthrough than a summing up: of attitudes, styles of dialog, dress, even styles of cinema», Marshall Brickman.
De Woody Allen.
«A movie of character and milieu, both of which it evokes brilliantly», Stephen Hunter.
De John Dahl.
«The evocative imagery and gentle, lapping rhythms of this film are infectious — it gets under our skin and draws us in long before the plot kicks into gear», Rich Cline.
De Kim Ki-duk.
«Its intensity is impressive and remains uncompromised by the prettifying aesthetic touches Truffaut adds here and there in an apparent attempt to distance himself from the overcharged material», Dave Kehr.
De François Truffaut.
«A reminder of how it is possible for stories to live flawless screen existences even without much tampering of the texts», David Keyes.
De Francis Ford Coppola.
«It is the film’s ability to drag the audience into its theater of cruelty, like dragging dirty foil across a rotten tooth, that marks something fearsome about art’s capacities», Joshua Clover.
De Sam Peckinpah.
«The precise and relaxed snowballing of silent-comedy idioms becomes, beautifully, a '68 uprising», Fernando F. Croce.
De Blake Edwards.
«The cinema of the teenage boy finds its purest expression», Martin Scribbs.
De Paul Verhoeven.
«The serial killer becomes an American gift to the world, a fragmentation bomb, ready to explode», Amy Taubin.
De Jonathan Demme.
«Inventing a new visual vocabulary to make us feel we aren't watching a star, we aren't watching a movie; we are watching something real. Very real», Joel Siegel.
De Steven Soderbergh.
«You can question the worthiness of subject and vision, but you can't really argue with the way they executed it», Eric Harrison.
De Tarsem Singh.
[agradecimento especial a Paulo Soares, pelo still do crédito de UMA ABELHA NA CHUVA.]
